Am Indifferenzpunkt der Kulturen. Heideggers ur-sprüngliche Interpretation der ostasiatischen Kunst
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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.
keywordsMartin Heidegger, East Asian Art, Zen Buddhism, Ereignis, Cultures’ Point of IndifferenceBiografia dell'autoreAlanus Hochschule für Kunst und Gesellschaf, Alfter-Bonn. Email: guenter.seubold@alanus.edu |
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