Fitxers
Tipus de document
TesiVersió
Versió publicadaData de publicació
Llicència de publicació
Si us plau utilitzeu sempre aquest identificador per citar o enllaçar aquest document: https://hdl.handle.net/2445/230164
Iconofania i ontosi. La imatge com a experiència reveladora
Títol de la revista
Autors
Director/Tutor
ISSN de la revista
Títol del volum
Recurs relacionat
Resum
[cat] “Iconofania i ontosi. La imatge com a experiència reveladora” és una tesi doctoral que hibrida la recerca creativa i teòrica amb el propòsit d’indagar el vincle entre Ser i imatge a través de la manifestació del sagrat en l’art contemporani. Aquesta relació, que fonamenta un coneixement essencial, no es basa només en el seu valor de representació, sinó en la presentació en potència del sagrat que conté la imatge. Es tracta d’una connexió que aporta una comprensió decisiva de com el temps postsecular pot significar un període de trànsit del Déu al Ser com a fonament de realitat. Aquesta és la hipòtesi inicial a partir de la qual s’investiga la forma que pot adoptar l’experiència artística com a via de coneixement privilegiat d’aquest pas del domini d’una assumpció transcendent i vertical de la realitat al retorn a una comprensió immanent i horitzontal, després de la crítica a les religions, la mort de Déu i la secularització. El moviment de profunditat que significa aquesta metamorfosi religiosa en la qual ha entrat una part influent de les cultures monoteistes, les ha assimilat estructuralment a les religions còsmiques dels seus ancestres, a les que es continuen practicant en múltiples cultures alienes al proselitisme que van estendre i a les principals espiritualitats orientals en un temps de possible síntesi. A partir d’aquestes hipòtesis contextuals, la tesi proposa dues nocions centrals: la iconofania i l’ontosi.
La noció d’iconofania es refereix a la manifestació del sagrat a través de la imatge prèvia a l’enunciat i la raó en un procés que uneix epistemologia i ontologia com a valor de coneixement primordial del Ser. En el desenvolupament del concepte iconofania, la tesi explora com la imatge representativa, més enllà de ser una entitat mediadora, objecte equívoc de coneixement des de Plató, pot esdevenir presentació de coneixement transcendent, font de veritat en ubicar-se en el moment desocultador del Ser i ser-ne part integrant en una operació que concep l’infinit com a finit prèvia a la capacitat intel·lectiva i sensible. L’abstracció i l’estètica negativa seran objecte d’estudi com a llenguatges capaços de mantenir aquesta obertura evitant el parany de la iconoclàstia, reflexió inherent en la representació de qualsevol absolut.
La noció d’ontosi, neologisme que introdueix aquesta tesi per expressar la reintegració postexistencial al Ser a la qual es dirigeix una part de l’existència humana després de més de dos mil anys de viure un horitzó escatològic marcat per la deïficació a la qual l’havia de conduir la theosis, s’analitza des d’una triple perspectiva: el temps, la llum i l’espai. L’assumpció d’una cronologia lineal, apareguda a causa de la revelació dels monoteismes i la salvació final a la qual s’havia d’encaminar el creient, pot donar pas al retorn a una concepció circular de la cronologia, com la percebien les religions còsmiques i continuen entenent-la múltiples espiritualitats orientals. La llum i la seva visibilitat en els cromatismes extrems s’analitzen com a forma d’acostament al Ser en l’estètica negativa. La representació de l’espai tanca la investigació amb un estudi comparat sobre l’expressió de l’infinit i la vacuïtat a través de l’estètica del sublim en l’art occidental i oriental.
Aquest paral·lelisme durà a la conclusió que l’art iconofànic assenyala un retorn al Ser en un procés humà d’ontosi que és equivalent a la manifestació permanent i circular en el temps de la vacuïtat en la qual es fonamenten les principals espiritualitats orientals. Des de l’absència a Orient i retornant a l’essència a Occident, s’arriba a un moment de proximitat i síntesi en les cosmovisions més influents de l’actualitat per comprendre un temps marcat per una moneda que gira i que porta el nihilisme en una cara i l’essencialisme en l’altra, ambdues de valor equivalent per viure espiritualment al segle XXI.
[eng] “Iconophany and Onthosis. Image as a Revelatory Experience” is a doctoral thesis which hybridizes creative and theoretical research through enquiring about the relationship between Being and image within the manifestation of the sacred in contemporary art. This relationship –which underpins an essential knowledge– is not solely based on its representational worth, but on the potential presentation of the sacred within the image itself. It deals with an association which contributes to a decisive comprehension on how post-secular time could signify a transitional period from God to Being as a foundation of reality. This is the initial hypothesis from which this research departs, to investigate the form that artistic experience may adopt as a privileged-knowledge path of the transitional gap between a dominant assumption of a transcendental verticality of reality towards a horizontal and imminent comprehension derived from religious criticism, God’s death and secularization. The profound movement that this religious metamorphosis signifies –in which some influential monotheist cultures have entered– has been structurally assimilated in ancestral cosmic religions, which in turn continue their practices alien to the pervading proselytists, as well as oriental spiritualities still do in a time of a possible synthesis. Based on these contextual hypotheses, this thesis proposes two central notions: Iconophany and Onthosis. The notion of iconophany refers to the manifestation of the sacred through the image prior to statement and reason in a process that unites epistemology and ontology as a primordial value of knowledge of Being. Through the development of the concept of iconophany this thesis explores how the representative image –beyond existing as a mediating entity, equivocal object of knowledge from Plato onwards– can become a presentation of transcendental knowledge, fountain of truth of the unveiling of the Being and being an integral part in a process which conceives the infinite as finite, previous to intellectual and sensitive capacities. Abstraction and negative aesthetics become study objects as languages capable of maintaining openness while avoiding the iconoclastic trap, an inherent reflection in the representation of any absolute. Onthosis is a neologism which expresses the post-existential reintegration towards the Being, which is directed to a part of human existence after more than two thousand years of living in an eschatological horizon marked by the deification which in turn drove us to theosis. Ontosi is then analysed within a triple perspective: time, light and space. The assumption of a lineal chronology, which appeared due to the revelation of monotheisms and the final salvation towards which its believers had to follow, could give way to the restitution of a circular-chronology concept as it was perceived by cosmic religions and as is understood by multiple oriental spiritualities. Light and its visibility within extreme chromaticisms are analysed as a means to approach the Being, within the negative aesthetics. The representation of space sums up the research with a comparative study of expressing the infinite and vacuity within the aesthetics of the sublime in Occidental and Oriental art. This parallelism leads to the conclusion that iconophanic art indicates the return to the Being in a human onthosic process, equivalent to the permanent and circular manifestation in the vacuity which cements the main oriental spiritualities. From oriental emptiness towards occidental essence, a proximity and synthesis moment is reached within the most current influential cosmovisions in an understanding that this age is characterised by a flipping coin imprinted with nihilism on one side and essentialism on the other, both of equal worth to live spiritually in the 21st century.
[eng] “Iconophany and Onthosis. Image as a Revelatory Experience” is a doctoral thesis which hybridizes creative and theoretical research through enquiring about the relationship between Being and image within the manifestation of the sacred in contemporary art. This relationship –which underpins an essential knowledge– is not solely based on its representational worth, but on the potential presentation of the sacred within the image itself. It deals with an association which contributes to a decisive comprehension on how post-secular time could signify a transitional period from God to Being as a foundation of reality. This is the initial hypothesis from which this research departs, to investigate the form that artistic experience may adopt as a privileged-knowledge path of the transitional gap between a dominant assumption of a transcendental verticality of reality towards a horizontal and imminent comprehension derived from religious criticism, God’s death and secularization. The profound movement that this religious metamorphosis signifies –in which some influential monotheist cultures have entered– has been structurally assimilated in ancestral cosmic religions, which in turn continue their practices alien to the pervading proselytists, as well as oriental spiritualities still do in a time of a possible synthesis. Based on these contextual hypotheses, this thesis proposes two central notions: Iconophany and Onthosis. The notion of iconophany refers to the manifestation of the sacred through the image prior to statement and reason in a process that unites epistemology and ontology as a primordial value of knowledge of Being. Through the development of the concept of iconophany this thesis explores how the representative image –beyond existing as a mediating entity, equivocal object of knowledge from Plato onwards– can become a presentation of transcendental knowledge, fountain of truth of the unveiling of the Being and being an integral part in a process which conceives the infinite as finite, previous to intellectual and sensitive capacities. Abstraction and negative aesthetics become study objects as languages capable of maintaining openness while avoiding the iconoclastic trap, an inherent reflection in the representation of any absolute. Onthosis is a neologism which expresses the post-existential reintegration towards the Being, which is directed to a part of human existence after more than two thousand years of living in an eschatological horizon marked by the deification which in turn drove us to theosis. Ontosi is then analysed within a triple perspective: time, light and space. The assumption of a lineal chronology, which appeared due to the revelation of monotheisms and the final salvation towards which its believers had to follow, could give way to the restitution of a circular-chronology concept as it was perceived by cosmic religions and as is understood by multiple oriental spiritualities. Light and its visibility within extreme chromaticisms are analysed as a means to approach the Being, within the negative aesthetics. The representation of space sums up the research with a comparative study of expressing the infinite and vacuity within the aesthetics of the sublime in Occidental and Oriental art. This parallelism leads to the conclusion that iconophanic art indicates the return to the Being in a human onthosic process, equivalent to the permanent and circular manifestation in the vacuity which cements the main oriental spiritualities. From oriental emptiness towards occidental essence, a proximity and synthesis moment is reached within the most current influential cosmovisions in an understanding that this age is characterised by a flipping coin imprinted with nihilism on one side and essentialism on the other, both of equal worth to live spiritually in the 21st century.
Matèries
Matèries (anglès)
Citació
Col·leccions
Citació
VILLAPLANA I CASAPONSA, Joan. Iconofania i ontosi. La imatge com a experiència reveladora. [consulted: 18 of August of 2026]. Available at: https://hdl.handle.net/2445/230164