Am Indifferenzpunkt der Kulturen. Heideggers ur-sprüngliche Interpretation der ostasiatischen Kunst

novitàdigital Am Indifferenzpunkt der Kulturen.
Heideggers ur-sprüngliche Interpretation der ostasiatischen Kunst

Articolo

rivista	RIVISTA DI FILOSOFIA NEO-SCOLASTICA
fascicolo	RIVISTA DI FILOSOFIA NEO-SCOLASTICA - 2020 - 4
titolo	Am Indifferenzpunkt der Kulturen. Heideggers ur-sprüngliche Interpretation der ostasiatischen Kunst At the Cultures’ Point of Indifference. Heidegger’s Original (ur-sprüngliche) Interpretation of East-Asian Art
autore	Günter Seubold
editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	02-2021
doi	10.26350/001050_000230
issn	00356247 (stampa) \| 18277926 (digitale)

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Descrizione
With the intention of destroying Western metaphysics in order to get to its origin, Heidegger also encounters East Asian art, which is mainly influenced by Zen Buddhism. This art does not, like Western art, want to represent the essence of a being, but rather to be a way to reach the nothing that grants everything. Heidegger even goes so far as to cautiously ask the question whether, with this «granting nothing», one has not arrived at the point of indifference of East Asian and Western culture, indeed of culture in general. The treatise examines what everything Heidegger knew about «East Asian art» and whether such an assumption is justified or not. Heidegger’s presumption, according to the author, of being at the point of indifference of cultures is certainly fascinating and worthy of discussion. But one cannot answer this presumption in any other way than through Heidegger’s disapproved «aesthetic» analysis of individual works of art. keywords Martin Heidegger, East Asian Art, Zen Buddhism, Ereignis, Cultures’ Point of Indifference Biografia dell'autore Alanus Hochschule für Kunst und Gesellschaf, Alfter-Bonn. Email: guenter.seubold@alanus.edu

Descrizione

With the intention of destroying Western metaphysics in order to get to its origin, Heidegger also encounters East Asian art, which is mainly influenced by Zen Buddhism. This art does not, like Western art, want to represent the essence of a being, but rather to be a way to reach the nothing that grants everything. Heidegger even goes so far as to cautiously ask the question whether, with this «granting nothing», one has not arrived at the point of indifference of East Asian and Western culture, indeed of culture in general. The treatise examines what everything Heidegger knew about «East Asian art» and whether such an assumption is justified or not. Heidegger’s presumption, according to the author, of being at the point of indifference of cultures is certainly fascinating and worthy of discussion. But one cannot answer this presumption in any other way than through Heidegger’s disapproved «aesthetic» analysis of individual works of art.

keywords

Martin Heidegger, East Asian Art, Zen Buddhism, Ereignis, Cultures’ Point of Indifference

Biografia dell'autore

Alanus Hochschule für Kunst und Gesellschaf, Alfter-Bonn. Email: guenter.seubold@alanus.edu

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Am Indifferenzpunkt der Kulturen. Heideggers ur-sprüngliche Interpretation der ostasiatischen Kunst

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