PHIL 23903/33903 Painting, Phenomenality, Religion
Painting raises philosophical questions, if only because one can wonder why some particular pieces of the overall visible may attract more visual attention than others, which appear nevertheless just besides the former. In fact, this privilege comes mostly from the radical (although subtle) difference between common law phenomena (objects) and saturated phenomena. Among them, the two main rival postulations are idol and icon. Concerning the idol, one may ask what precisely is its function? How far can it reach the thing itself even more than objective knowledge (the examples of Courbet and Cezanne will be privileged)? Concerning the icon, one may open the road to theological questions: how far can the invisible God be aimed at through visible images? Is iconoclasm the only option? What theological arguments could support the claim for icons (Nicene Council II)? Can the concept of icon be extended to other issues than “the icon of the invisible God” (Colossians 1, 15)?