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Thomas Erne
Formaufbau und Formzerstörung. Familienähnlichkeiten im Verhältnis von Kirche und Kunst
The relation between religion and modern art is a prominent exemplification of the meaning of religion for modern culture. Two positions have been well established in Protestant theology to explain this relationship. On the one side, some declare an abstract opposition between Christian faith and modern culture (Karl Barth); on the other side, religion is understood to be an essential part of modern culture, representing the dimension of the ultimate (Paul Tillich). This essay argues that religion and modern art are different but, at the same time, have much in common. Ludwig Wittgenstein calls a relation “Familienähnlichkeiten” when things are similar, but are not connected in a logical way. This essay suggests the value of exploring the relationship between religion and modern art as an example of “Familienähnlichkeiten.” Both religion and art have to do with expressing meaning through symbols. Different from art, however, religious symbols are essentially incomplete. They express the ultimate, yet simultaneously express the lack of ultimacy. For this reason, religion has to do with a conflict between human expression and its limits, which is a vital dimension of culture in general. In this perspective, religion is not a fundament, but is a ferment of modern art and culture. The relationship is thus an interactive one.
International Journal of Practical Theology, Walter de Gruyter
Print ISSN: 1430-6921
Volume: 10, 07/2006
Pages: 76 - 90