جستجوی مقالات مرتبط با کلیدواژه "تجربه زیبایی شناختی" در نشریات گروه "فلسفه و کلام"

Studying the intersection between religious experience and aesthetic experience can shed more light on the relationship between religion and art. Do similarities determine whether they have the same origin? Can we expect the same result from both? The present article has used library method in collecting information and descriptive-analytical method in inference. Common contexts such as philosophical and literary movements have played a role in shaping religious experience and aesthetic experience. Kant's subjectivism has had a serious impact on both, and they have very close epistemological similarities. After Kant's subjectivism and the reduction of religion to religious experience and beauty to aesthetic experience, many scholars felt that the relationship between religion and art had been severed altogether, and that modern thought has been able to break this close connection with the classical period; But after studying the commonalities between religious experience and aesthetic experience, it can be felt that despite Kant's project in the separation of religion and beauty, the two are so close that some consider the aesthetic experience to be a continuation of religious experience through different mediums. And after Kant, the link between beauty and religion has not disappeared.

It cannot be claimed that Ibn Miskawayh, the philosopher of the fourth century AH, systematically addressed the basic issues of aesthetics and philosophy of art in his works. However, he considers the issue of aesthetic experience and beauty as an issue and believes that the basic features of aesthetic experience are related to unity. Unity is a characteristic of divine existence, and the purpose of harmony, proportion, and rhythm in the physical (corporeal, bodily) world is to approach (to come close) this unity. In his view, beauty is an objective idea (concept) and “beautiful” is defined in the triangle of soul-nature-matter. What makes an object beautiful is the harmony between the souls that reflects the divine existence with a matter that is able to receive it. Perfection occurs when the artist applies what is appropriate to the soul in matter. Perfection is also the product of the relationship between theory and practice, which are two complementary fields. Ibn Miskawayh, in his works also examines music and poetry. In his view, music is the closest experience to receiving a divine existence. The experience gained through music has a greater impact on the soul than other arts. In his view, there is a connection between music and the unity and universal order. However, he keeps his distance from poetry, because he believes that poetry uses tricks to arouse the soul.

James Alfred Martin, a contemporary philosopher and thinker of religion, seeks to illustrate the connection between religious and aesthetic experiences in different centuries by reviewing these experiences in historical periods and proposing different theories. This connection is discussed in a discursive context. In addition to addressing the concepts of art and religion, this discourse deals with the extent to which religion can play a key role in determining aesthetic criteria and creation of works of art as well as the decisive role of art in human religious experiences. This study also examined the existing theories, including the thoughts of the German philosopher, Schleiermacher, and his various definitions of religion, the religious experience, art, and the discourse between these concepts by reviewing the history of the discussion.
To answer the aforementioned question, this study discussed that, according to James Alfred Martin, this discourse ultimately leads to a single goal, which is a perception of the true reality. The reason is, as much as aesthetic experiences are derived from participatory-sensory perception of beauty between the audience and the work of art, religious experiences of human beings have deep sensory foundations.

In the following papers, we look George Pattison, and focus on his theory about art- religion relationship. It seems, he designs a new way and prepares a new idea about religious dimension of art, which he have called it theology of art. In constituting this new idea, Pattison refers to Zen- Buddhism, with some contents of Existentialism, and he shapes his distance from Romanticism and Postmodernism. According to him, art can provide an aesthetic view, can cultivate its receptors, and finally can join human kind to the spiritual journey. But if we consider his approach, it is obvious that he couldn’t succeed to reach an authentic and reliable viewpoint. It seems we can call his theory an artistic theology, in contrast of theology of art.

Religious experience is the most distinctive experience among human existential experiences, and this is due to a transcendental relation which has its origin in an extraterrestrial and immaterial truth. The main problem here is how the relationship between religious experience and aesthetic experience (Artistic). Artistic language as a visible and understandable language to every human being, therefore, it how can within the aesthetic experience help to religious experience? Religious truth is an existential phenomenon; thus, its language is Revealing of Being. Since religious truth is expressed in coded language, not understandable for all human beings. Gadamer assume that truth is represented for audience in a pictorial frame or on display Scene and other artistic examples in a naked form regardless of linguistic complexities (written language) and the deepest and broadest range of understanding is achieved accordingly. So, Where complex and symbolic language of religion become heavy, artistic language (poetry, literature, theater, music, imaging, etc.) compensate that loss and paved the way for transferring religious concepts. The work of art receives richness and depth by religious content and therefor, the religious and aesthetic experience in the field of hermeneutics, establishes mutual interactivity that leads to an extension of existance.

French philosopher and aesthetician, Mikel Dufrenne, is not such well-known in the phenomenological tradition, thought he was more concerned with aesthetics and art than his contemporary phenomenologists. In his book, The Phenomenology of Aesthetic Experience, he presents a phenomenological attitude, through merging aesthetics with art, which differentiates him from his contemporaries. In this book,he presents a new phenomenological definition of the a priori and considers the concept of the “affective a priori” as a main principle in the aesthetic experience.  This article attempts to clarify the concept of a priori in Dufrenne’s doctrine, and particularly the role of the affective a priori in the aesthetic experience, as the keys to a better understanding of his idea.

In this paper, it is tried to consider the characteristics of the artistic understanding and to propound a proper answer to the question that “what is the art?” Since, this answer involves the element of value, the status of this element in the views of thinkers such Kant, Hegel, Adorno and Heidegger are considered. The main conclusion of the paper is that Heidegger’s artistic conception enjoy characteristics relying on which we can prepare an area for conjoining different philosophical views about the value of the art and the works of art that gathering them together may seem very problematical.