Pub Date : 2021-04-25DOI: 10.21555/cya.i1.2021.2210
Gustavo Adolfo Esparza Urzúa
Ensayo académico
学术论文
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Pub Date : 2021-04-25DOI: 10.21555/cya.i1.2021.2208
Pablo S. Zambruno
El arte cristiano en general debe asumir el desafío de enseñar las profundidades de la fe, mediante un designio estético. En el Cristianismo de la Antigüedad, este proceso enfrentaba dificultades excepcionales: la convicción de vivir los últimos tiempos y la proscripción de las imágenes por parte del judaísmo; fueron necesarias nuevas generaciones que asumieran creativamente las “ultimidades” y que establecieron un fuerte nexo entre templo y comunidad. Luego debió asumir la Cruz, dolor y muerte, como emblema estético. Abstract: Christian art in general must take up the challenge of teaching the depths of faith through an aesthetic design. In the Christianity of Antiquity, this process faced exceptional difficulties: the conviction of living in the end times and the proscription of images by Judaism; new generations were needed to creatively assume the "ultimities" and establish a strong link between temple and community. Then it had to assume the Cross, pain and death, as an aesthetic emblem. Key words: Paleo-Christianity. Christ. Theological aesthetics. Truth. Cross.
基督教艺术一般必须接受挑战，通过美学设计来教导信仰的深度。在古代基督教中，这一过程面临着特殊的困难:对生活在末世的信念和犹太教对形象的禁止;这需要新一代创造性地接受“最后通融”，并在寺庙和社区之间建立强有力的联系。然后，他必须承担十字架、痛苦和死亡，作为审美的象征。Abstract: Christian art in general 50%必须take up the challenge of the depths of faith through an aesthetic design。在古代基督教中，这一过程面临着特殊的困难:末世生活的信念和犹太教对形象的禁止;new generations的情况需要creatively assume the“ultimities寺”和设立一个强劲link between and community。然后它必须假定十字架，痛苦和死亡，作为一个美学的标志。关键词:古基督教。Christ。Theological aesthetics。Truth。交叉。
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