GOD IS BEAUTIFUL, UGLY, DEAD: NAVID KERMANI, FERIDUN ZAIMOGLU AND (MORE THAN) CHRISTIAN ART

Navid Kermani's and Feridun Zaimoglu's engagements as Muslims with Christian art reveal the possibilities limitations of aesthetic experiences divine beyond all doctrinal divides. Although own research into dimension Islam highlights potential for to offer spiritual insight, his rejection some imagery, especially crucifix, in book Ungläubiges Staunen: Über das Christentum (2015), suggests this has limits which are not only matters subjective taste but also epistemological barriers that difficult overcome. However, interpretations lead a syncretic understanding Islamic ideas aesthetics, pointing towards new notions divine. Similarly, series contemporary icons featuring Jesus other Biblical figures opens up religious divides through their ambiguous links Christianity Islam. This distinction between an experience across boundaries its failure can be theorised Jean-Luc Marion's ‘icon’ ‘idol’ respectively, whereby former returns viewer's gaze unleashes destabilising openness sacred, whereas latter involves dominant viewer reinforces what they already know. Kermanis und Zaimoglus Auseinandersetzungen als Muslime mit christlicher Kunst bringen die Möglichkeiten Grenzen einer ästhetischen Erfahrung des Göttlichen auf religionsübergreifende Weise zum Vorschein. Obwohl eigene Forschung über ästhetische Dimension Potential der Kunst, spirituelle Erkenntnis anzubieten, betont, suggeriert seine Ablehnung bestimmter Symbolik, vor allem Kruzifixes, im Buch dass dieses nicht nur aufgrund subjektiven Geschmacks, sondern auch wegen schwer überwindbarer epistemologischer Hürden beschränkt ist. Jedoch führen einige Interpretationen zu einem synkretistischen Verständnis islamischer Ideen Ästhetiken, neue Vorstellungen hindeutet. Serie gegenwärtiger Ikonen anderen biblischen Figuren eröffnet ähnliche durch ihre mehrdeutigen Bezüge Dieser Unterschied zwischen religionsübergreifenden deren Misserfolg lässt sich Marions von ‘Ikone’ einerseits vom ‘Idol’ andererseits theoretisieren. Während Ikone den Blick Betrachtenden erwidert eine destabilisierende Offenheit Heilligen auslöst, ist Letztere dem dominanten unterworfen somit wird ihr Vorwissen verstärkt. Gott, sagt eine, hat uns nix schaffen, kümmert dich etwa Ameise? Der andere blutet seinen Hass Demagogenparolen. Sie spucken Heilige. Die Pfaffen, sie Schäfchen, geht es manchmal gerecht dieser Welt. Dann aber gerate ich Fronten.2 primarily house, protect exhibit (and curiosities) sake education enabling these works provide incalculable masses people coming see them.5 Kermani interest art, where depictions human body concerned, runs counter is norm aesthetics. As Vasile-Octavian Mihoc clarifies, both Islam: ‘imagery exceptional place affirming confirming specific truths’; but: ‘Islam marked from very beginnings by inflexible aniconism sacral space’.6 religions share worship, have different emphases: ‘The idea Qur'an's compared icons. To memory seeing contained icons, Qur'an opposed textual memoria.’7 One could argue tends more visual thanks figure Christ, aural due belief word God. projects nevertheless demonstrate gained believer imaginatively engaging traditions despite differences. does mean evolution practice – or any religion imagined without fascination sites, texts, hymns, images, scents, actions, gestures garments. Protestantism would certainly never spread so quickly German-speaking regions if it had been rhetorical force Lutheran Bible. Yet portrayal past Christian, specifically, Protestant community, momentum less significant, however relevant role practice.10 Staunen evidences desire probe aspects further. Nevertheless, will become apparent following analysis, appreciation distaste artworks often filtered lens. work deals topic access In short stories ‘Gottes Krieger’ ‘Der Kranich Kiesel Pfütze’, Zwölf Gramm Glück (2004), protagonists gain insight whirling folkdances story, dance appears create shared presumably Muslim protagonist love interest, highlighting such view cross divides.11 The writing style novel Evangelio (2007) inspired power Martin Luther's language. paintings form part strand within oeuvre, take seriously. Zaimoglu events play Moses (co-written Günter Senkel, 2013), radio Paulus (2014), ‘Zippora’ ‘Judith’ Geschichte Frau (2019), Babylon 2019). imaginative contrasted traditional approaches interreligious dialogue, authors tend reject. On Zaimoglu, self-professed ‘Anti-Interkulturberserker’,12 hints interview katholisch.de aesthetics important role: ‘Es gibt schönen alles Blödsinn.’13 critiques dualist structure representational nature actors who presumed speak on behalf whole communities: ‘der Dialog Kulturen genauso Karikatur wie jene Analysen, heutige Welt einen Zusammenprall verschiedener Zivilisationen reduzieren’.14 Both therefore sense tempered mystical thought keen how material world (whether aesthetically erotic encounters) means identities. An analysis two allow exploration productive Crucifix, there perceived ugliness, characterised differences hard overcome, Islam's Jesus's status God's son. Nonetheless, do appear convey Kermani, rootedness Christianity. Conversely, ‘transreligious’ experimentation tradition iconography possibility may still find pieces, fact painted non-believer. icon recognizes no measure than infinite excessiveness [demesure]; idol measures scope he then sculpts it, accords visible face whose invisibility given envisaged revelation offers abyss eyes men finish probing.16 By terms icon, radical thinking grasped. If awareness human, together focus agency rather predestination, viewed ‘humanistisch gezähmte[…] Religion’ moves closer secular ideals Enlightenment,17 merely serve idols reaffirm visible, just Enlightenment focuses knowable, empirical world. discussions disrupt narratives privileging ultimately unknowable mysterious: invisible. These constitute world, contradicting Enlightenment's totalising claims. regard, Marion interprets Friedrich Nietzsche's death God ‘God’ understood concept, moral authority even being, paving way familiar. For Marion, ‘the “death God” “moral leaves intact, provokes, “new gods”, affirmative function upholds becomes world’, allowing world-affirming spiritualities.18 argues, artistic act ‘resonance chamber similar sensibilities’ ‘decompressing room […], liberating us burden matter at same time raising materiality indicate always it’.19 allows differentiate divides, similarities overlaps (idols) institutionalised faith (icons). Nein, noch jung doch schon erfahren, was bedeutet, Gott aus- heimgesucht worden sein, glaubt zumindest, erfahren haben, kennt Schmerz ahnt, mehr noch: weiß, daß ins Unermeßliche steigert. Nur selbst einmal diese Jungfrau erlebt. Würde man zeigen, wäre keine mehr. Leute würden weglaufen Angst. (p. 13) Thus, although depict Mary's suffering, nonetheless manages hint being our comprehension. paradoxes sense: rest settle looks icon; must rebound upon order go back stream invisible.’21 Ich richtete Lichtkegel Simonidas Gesicht erkannte, beiden schwarzen Flecken Auge halb bedeckte konnte sehen, mich sehen! entdeckte dünnen Stab, Simonida Hand hielt, glaubte Zauberei. 167) Mit Richter-Fenster ziehen Abstraktheit, mathematische Anordnung sogar manche Farbprinzipien islamischen Baukunst Dom ein. seinem Lichteinflüssen vertreibt Düstere, Abgestandene, immer etwas Abstellkammer verlieh. Plötzlich macht Außen bemerkbar Wandel. Das Spiel, Sonne Wolken Südlicht erzeugen, spektakulär. Und kann durchdringen seiner Klarheit. 270) meditation simultaneity concreteness transparency shows cultural historical levels complement each exclusion. cathedral Cologne seen immutable emblem, organic ever-evolving synthesis, surpasses space combination convergent elements.24 From accounts, clear reception images key, artist's artists’ intentions, explains determined beings against beings, since (statues, names, etc.) pass one rank other’.25 environment disposition significant determining whether objects not. case Maria Advocata, outside starkly solemn interior church. Whereas church found ‘in gewöhnlichen Wohnstraße’, next Hilton hotel and, emphasise worldliness scene, friend urinates bush before entering; inside nuns pray seemingly cut off functioning telephones 9). Above everything else, worship brings here, message. Indeed, lack eliminates perhaps intensifies experience: ‘Nach einigen Minuten löschten Nonnen Licht, wir Stimmen hörten, ein Vers tief, hoch, Singsang Pausen, ohne Wort verstand’ 10). A dynamic occurs when visits Gračanica Monastery: suburban area ‘Neubauten Fassaden aus unverputztem Betonstein, schrillen Einkaufszentren, Schnellrestaurants’, once feels though entered ‘Jenseits’ 164). Another aspect extensive knowledge practices. At times, help him unlock particular significance works, transcends known, theological expertise necessarily conducive experiencing leads profound various make comparisons (mostly Sufi) traditions. Sandro Botticelli's painting ‘Christ Carrying Cross’, example, Pakistani Sufi saint Lal Shahbaz Qalandar, red dancers 45), interpretation image stops regarding piece beauty 45). Likewise, mosaic Good Shepherd’ Mausoleum Galla Placidia Ravenna contested hadith, Muhammad describes vision 85). response artworks, moved way; cause outline emerge takes broad canons. thus remain sense, ‘freeze concept’26 familiar with. said group compares Sufis dress (pp. 207–8). interesting unexpected parallel, insight: ‘Ich bin Versuchung geraten, mein Leben widmen sieben Schwestern vier Brüder, war neidisch sie, jeden Tag dreimal Lieder singen, Ungläubigen berücken’ 209). mentioned earlier, much explores omnipresence agency. It unsurprising most well-represented artist far Caravaggio. states: ‘Unter allen Malern er schärfsten dafür, Erscheinung Himmlischen für Irdischen bedeutet: zersprengt sie’ 192). Not acting however. Crowning Thorns’, Death Virgin’, ‘Judith Holofernes’ Martyrdom Saint Ursula’ discussed deviate Scripture blasphemous ways, experiences. four Caravaggio perform function, greater vessel possible precisely because form, remains abstract associated natural vast majority connection Richter's window. Sacrifice Isaac’, views Isaac, Abraham, identificatory figure, son conveys regards central personal based son, ‘die Liebe, […] erst recht Schöpfung offenbart’ 203). Caravaggio's contrary, blind zeal carry out brutal request. again source painting's power: gründe [mein Christentum] Sohn, weil anschaut’ ‘Eros’ Sufism loving one's neighbour. remaining three Caravaggios enable move (disputed not) argues Incredulity Thomas’ calls disputed Gospel St Thomas mind, explaining directs Thomas's finger wound. goes say that, outcompeted John, around, little separate Crucifixion, present barrier 222). Crucifixion Peter’ Calling Matthew’ mystery presence foreground notion miracle come anyone. latter, intensely: ‘daß jeder Mensch erwählt werden könnte’ that: ‘das Wunder ist, [den Auftritt Erlösers] bemerkt’ 192–3), unclear Matthew. relies paradox point invisible those believe, echoing statement: ‘By hearing, ye shall hear, understand; seeing, see, perceive’ (Matthew 13:14). prompts think we might foreclose encounter divine, indeed Marion. words: manner decides seen, or, least negatively, divine.’27 Tiefen mystischen Erfahrungsdeutung nähert Trinität an, allerdings Richtung, Richtung Vergöttlichung Menschen, Menschenwerdung Gottes, wenn Koran ‘Wort Gottes’ nennt. 48) His discussion wooden statue Christ child irreverent. infant ‘häßlich’, ‘Dickerchen’, ‘Rotzlöffel’, chipped paint fingertips calling faeces mind 14, 15 18). finds statue, object resonates interests, women mystics rock statues arms unity Virgin Mary ponders Christians: ‘zu sehr Schönheit gebannt [sind], ihnen am damit Christus wichtig erscheint, um Häßliche ebenfalls sehen’, Infancy Thomas, acts malevolent spiteful ways others 18–19). Natürlich tut leid. Aber leiden wir, leidet gläubiger tatsächlich ihm, genau Empfindung Betrachters oder eher Erschrecken darüber, Einzelnen angetan vielen? gehören gläubig nicht, 58) bodily everyone else reflected opinions about architecture. Churches traditionally built shape regard Cathedral, main altar positioned centre cross, person whom appeared. Such undermines every something light window now introduced Cathedral 272). innocent cruel barbaric ugly, event. salvation dint compassionate kenosis self-sacrifice uniquely beautiful act. How, late Middle Ages, were contradictory insights portrayed single image, understood, read, viewers?28 Munns, overcome Medieval Christians, rather: ‘something inviting, demanding, celebration’.29 shares qualities invites viewers look brutality ugliness beauty. explain viewing paradoxes, unable enter ‘must inherently paradoxical, event refers dead, paradoxical’,30 affirms singular status, denying else. represents concerned acceptable taking regarded departure Much like Monastery, Visoki Dečani Monastery (also Kosovo) described oasis sea banality, architecture: ‘sieht Zwischenzustand vor, Weltliches verrichtet Heiligsten zugleich teilhat’ 230). Despite reservations cruciform ground-plans, richly decorated sights, sounds smells daily rituals overwhelming ‘Gesamtkunstwerk’ Kermani. screened sanctuary, priests admitted, paradoxically creating: ‘ein weiterer Schleier, alle abweist aufreizt’ He discusses invisible, suggesting moment: ‘Sie hören Gebet, sehen kaum, Alten Testament hört, kaum sieht. So Mysterium Heiligen anschaulich konkretesten Sinn’ Muqarnas-Kreuz, kein Abbild vielmehr Idee ersten, ganz schemenhaften Kruzifixe griechische Tau (T), sieht Dreifaltigkeit Monotheismus. Darin dezidiert christlich christlich, Ästhetik frühchristlich, orientalisch heute. 52) ‘Abbild’ (a representation hence idol) idea, known Be may, neither actual Crucifixions, makes easier difficulties. Reni's depiction is, however, notable exception. Cross’ Giovanni Bellini's ‘Blessing Christ’, Reni depicts crucified. pain suffering imagination (as Kunibert's Pietà), able stand deaths 67). Alongside entry Paolo Dall'Oglio, Jesuit priest peace activist, stands out, life philosophy. Dall'Oglio served sixth-century Deir Mar Musa monastery Syria, devoted kidnapped State 29 July 2013, after murdered. ‘Islam’ horizon during epiphany, made life's study promote interfaith dialogue 170). Dall'Oglio's approach, mere religions; incorporated elements services, including aspects, melodic repetitions dhikr 172). afraid question, syncretic: ‘Könnte überhaupt Kultur finden, vollständig originär Resultat Gärungsprozessen, schmerzlichen Erfahrungen, Anstoßen außen, Übernahmen, wechselseitigen Befruchtungen?’ 184). philosophy seems great impact monks Musa. Sister Carol, affirms: ‘Anfangs dachte ich, meine Berufung liege darin, Brücke bilden. inzwischen meinem eigenen Leib geworden Christin, nach bin’ 179). argued efforts Staunen. Some appreciated knows, bring certain another, while leaving them intact. contrast, artwork experienced explodes existing conceptualisations forth transcend religions. above examples show, creative mixture productive, facilitates emphasis repeated, geometry serves decentre Christianity's hierarchical divinity others. last footage him, recorded day kidnapping. Appearing section ‘Zeugnis’, contains entries dealing saints holy people, reads hagiography, making screenshot sorts. flashes mobile-phone torches behind golden halo, plead us, circumstances taken turn Syria tolerance, cross-pollination intercommunal curiosity, adds emotional charge. example demonstrates medium decisive aspect; context (or, life) creates sense. experimented drawings, constituting engagement linked spirit Dall'Oglio. mostly writer overlap literary art. Mietmaler (2013) illustrated portraits women, written poems painter sculptor Jörg Immendorff's paintings, Ich, Immendorff (2018). blog ‘Mit Rücken zur Kunst’ Zeit, Daniel work, colourful Immendorff, psychedelic images. blog, talks quite disparaging upside-down Georg Baselitz installations Joseph Beuys, hardly anything challenge old av