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فلسفة الفن عند هايدجر
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تعتبر فلسفة الفن عند هايدجر فلسفة مغايرة لما ألفناه لدى غيره من الفلاسفة، فقد جعل الفن أحد الوسائل لظهور الحقيقة بوصفها كشفاً، لأن ماهية الوجود تتجلى من خلال تكشف الموجود و انفتاحه عبر العمل الفني، ضمن علاقة التوتر القائمة بين العالم "الانبجاس و الكشف" و الأرض "الانسحاب و التحجب"، فالفن مطالب بأن يقرب بينهما كي يتمكن الإنسان من إقامة عالم يضم جميع الإمكانيات، فعن طريق استخدامه للأداة يأتي بالأرض من احتجابها ليحمل العالم إلى الظهور. إن ما نريد أن نصل إليه من خلال بحثنا هذا معرفة الأفكار الأساسية لفلسفة الفن عند هايدجر، و تبيان مفهوم الجمال لديه. و تم لنا ذلك عبر عرضنا لفلسفته و للموضوعات التي تبناها "أصل العمل الفني_ العلاقة بين العالم و الأرض_ مفهوم الحقيقة" و عالجها بالفحص و التمحيص، مستخدماً منهجاً يجمع بين الفينومينولوجيا و الانطولوجيا للإجابة على السؤال "ما ماهية الفن؟"
Heidegger's philosophy of art is considered a philosophy that is different from what we are used to with other philosophers. He made art as one of ways to expose the truth, because the quiddity of existence manifests from appearance of the existed and it's openness by the work of art, within a stressful relationship between the world and the earth. The art has to bring them closer, so that man can create a world that contains all possibilities, so he used the instrument to bring for the earth from its obsession and make the world appear. What we want to get to in this research is knowing the basic ideas about Heidegger's philosophy of art, and explaining the concept of aesthetics from his point of view. This was done through our presentation of his philosophy and the subjects that he adopting. "The origin of work of art, the relationship between world and earth, and the concept of truth", and treated by examination using a method that combines phenomenology with ontology to answer the question: "What the quiddity of art is?"
References used
مارتن هايدجر، أصل العمل الفني، تر: أبو العيد دودو، منشورات الجمل: كولونيا، 2003,ط1
جمال سليمان، مارتن هايدجر " الوجود و الموجود"، دار التنوير: بيروت، 2009
سعيد توفيق، في فلسفة الجمال الظاهراتية، مجد: بيروت، 1992,ط1
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The impact of Spinoza's criticism of the religious phenomenon along with its relation
to human beingshas been greatly evident on theintellectual climate of modern philosophy
in general, and the Study of the philosophy of religion that emerged with
Kant later in
particular.Thus, we can assert that the philosophical trend of Spinoza has paved the wayfor
Kant’s researches to go on in this direction.Consequently, his researches have been
influenced by the achievements of the intellectual and cultural environment that prevailed
at that time; from Bruno and Descartes to Copernicus and Galileo walked libertarian
direction of mental ahead in the criticism of the principles underlying philosophical and
natural thought in the sixteenth and seventeenth century، but none of those have had the
intellectual courage to put religion into criticism. Especially, withina religious environment
that has been dominated by exceptional religiosityin order to face the expected danger of
philosophers and thinkers.
Within this atmosphere of exceptional religiosity, Spinoza has logically criticized all
sacred things of his time such as: the Holy Bible, the nature of God, the relationship
between faith and reason, the concept of miracle, prophecy, and the afterlife. He has raised
many doubts aboutthe whole religious phenomenon calling for conducting many
researches and teststhat might lay bare the hidden truth that religion claimed to have and
being the everlasting salvation for human kind.By doing so, he has created a novel
philosophical trend that has been known today as the philosophy of religion.
The ancient civilization of Mesopotamia expressed widely its high levels of political and civilized development at that time. That progress reflected on the evolution of all aspects of life, especially on the artistic one. Since ancient times, Mural
Art got an obvious role in bringing religion closer to the minds of people through decorating temples and taking care of its ornamentation and graphics.
Mesopotamia was distinguished for its prodigious artistic production, which was well known by its precision in expressing various topics. The Assyrians made a revolution in the history of Murals art by suggesting depth within the painting itself. The Assyrian art was also superior in showing the physical strength in the human, animal and predators' forms. It also focused on documenting the of glory of heroism and military victories.
Feuerbach tried to make the power of love a kind of power that cannot be matched
with any other power as love defeats all his opponents even if God is one of them. Love is
always victorious. That's what made the concept of love in Feuerbach’s ideas
a
distinguished and unprecedented concept comparing to all concepts handled by those
philosophers before him. This kind of love dominates the body and soul together and it is
inseparable from our body, may not live outside our soul, it is the basis of the body and the
essence of the spirit.
Feuerbach wanted to make love a link between a mankind and another so there is no
love if one existence and the other is absent. Feuerbach doesn’t limit himself at this point
but goes on to ignore the existence of human being without being in love or loved by other
person. That who does not love does not exist, even religion has neither benefit nor
importance if it is not based on love because love is the reason and core in other words
love is the reason behind the existence of religion.
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Every era has its own intellectual and social dimensions the influence of which extend to
touch the artistic topics in terms of creativity and production conditions. The religious belief
is considered as an important effect on the whole historicall
y-successive artistic process. The
oppression exercised by the religious authority on creativity has always been present, but in
forms that differ from an era to another.
Viewing the religious theme embodied in art works, we will recognize that vast area achieved
throughout ages.
At early stages art rested on primitive, mysterious magic-based beliefs. Then art introduced a
physical representation of the images of the national gods and religious beliefs that used to
give explanations about the universe and glorify kings. Clergymen, then, started to identify
the boundaries and function of art in a way that served their goals. Christian religious men
continued to employ art for the sake of their messages and teachings with a controversy over
the role and limits of art. On the other side, Islamic art expanded but it neither served belief
nor subject to any religious guidance. With certain spiritual nature, such Islamic art might
have sought to avoid prohibition fatwas.
Finally, art could not be freed from religion scopes until Renaissance had come with its
human and mental spirit.
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