Page 264 - Stati inu obstati, revija za vprašanja protestantizma, letnik I (2005), številki 1-2, ISSN 1408-8363
P. 264
SYNOPSES, ZUSAMMENFASSUNGEN
Violeta Vladimira Mesarič
Paul Tillich as War Chaplain
The paper analyzes some aspects of his philosophical theology, especially
the meaning of being connected with the concept of time. Time is understood
as kairos, the right, qualitative time in comparison with formal, quantitative
time. For Tillich the meaning of history on the basis of the concept of kairos is
an inescapable responsibility for history, responsibility rooted in the awareness
of the eternal.
What is it that makes Paul Tillich’s philosophical theology attractive? To
answer this question we have to consider his very particular position when he
was confronted with the concrete historical events at the beginning of the 20th
century, especially with the First World War – in which he served as a chaplain
– and the period shortly after. Paul Tillich’s philosophical theology describes bet
ter than any other the centre of his thought and work called “on the boundary
line between philosophy and theology”. The boundary line between philosophy
and theology represents the centre and the strongest orientation throughout all
periods of his personal and intellectual life in the Old World, and also later in
the Promised Country.
Robert Inhof
Self-Image and the Image of Jesu Christi of the Painter Nikolaj Beer
At the 2001 exhibition in the small gallery of the Gallery of Murska Sobota
Nikolaj Beer put his latest works on display. The exhibits were mainly oil on
wood paintings of smaller size. The main themes of his works, however, have
not changed. Again there were cornfields, Saturns, human heads and, of course,
his native village of Kükeč, the everpresent and omnipotent domain within wich
the artist placed his motifs.
In his most recent works, however, these motifs are saturated by an
even more explicitly expressed metaphor of death and passing away. Still, one
cannot see this works as being morbid for the metaphor of death and passing
away is confronted with an irrepressible lust for life. One cannot help but notice
that – after twenty years – his paintings bring his own image and the image of
Jesu Christi in that this time around, the two images are not directly linked to
each other as far as semantics is concerned. Beer’s self image is now realised in
the form of diptych with a decomposing body of painter’s double on the right
side. The image of Jesu Christi, however, does not have a pair. Nikolaj Beer is
of Protestant background thus his image Jesu Christi is merely an image from
which – in acordance with the Second Commandment – one cannot expect nei
ther miracles nor redemption.
262
Violeta Vladimira Mesarič
Paul Tillich as War Chaplain
The paper analyzes some aspects of his philosophical theology, especially
the meaning of being connected with the concept of time. Time is understood
as kairos, the right, qualitative time in comparison with formal, quantitative
time. For Tillich the meaning of history on the basis of the concept of kairos is
an inescapable responsibility for history, responsibility rooted in the awareness
of the eternal.
What is it that makes Paul Tillich’s philosophical theology attractive? To
answer this question we have to consider his very particular position when he
was confronted with the concrete historical events at the beginning of the 20th
century, especially with the First World War – in which he served as a chaplain
– and the period shortly after. Paul Tillich’s philosophical theology describes bet
ter than any other the centre of his thought and work called “on the boundary
line between philosophy and theology”. The boundary line between philosophy
and theology represents the centre and the strongest orientation throughout all
periods of his personal and intellectual life in the Old World, and also later in
the Promised Country.
Robert Inhof
Self-Image and the Image of Jesu Christi of the Painter Nikolaj Beer
At the 2001 exhibition in the small gallery of the Gallery of Murska Sobota
Nikolaj Beer put his latest works on display. The exhibits were mainly oil on
wood paintings of smaller size. The main themes of his works, however, have
not changed. Again there were cornfields, Saturns, human heads and, of course,
his native village of Kükeč, the everpresent and omnipotent domain within wich
the artist placed his motifs.
In his most recent works, however, these motifs are saturated by an
even more explicitly expressed metaphor of death and passing away. Still, one
cannot see this works as being morbid for the metaphor of death and passing
away is confronted with an irrepressible lust for life. One cannot help but notice
that – after twenty years – his paintings bring his own image and the image of
Jesu Christi in that this time around, the two images are not directly linked to
each other as far as semantics is concerned. Beer’s self image is now realised in
the form of diptych with a decomposing body of painter’s double on the right
side. The image of Jesu Christi, however, does not have a pair. Nikolaj Beer is
of Protestant background thus his image Jesu Christi is merely an image from
which – in acordance with the Second Commandment – one cannot expect nei
ther miracles nor redemption.
262
