칼 바르트의 문화예술 신학 : 성령이 빚어낸 문화예술의 유희적 본성
Karl Barth’s Theology of Culture and Art: The Redemptive Work of the Holy Spirit and the Playful Nature of Culture and Art
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칼 바르트의 예술문화신학은 하나님 말씀에 대한 그의 일관된 강조와 개신교 예배에서 이미지를 사용하는 것에 대한 그의 비판에 가려 이제껏 큰 관심을 끌지 못했다. 그러나 바르트는 암스트르담에서 행한“교회와 문화”라는 강의에서 예수 그리스도를 통한 계시라는 신학의 핵심을 놓치지 않으면서도, 문화예술은 성령의 종말론적 활동 속에서보아야 한다고 제안한다. 우리가 인간의 문화적 활동을 성령의 구속의빛 아래서 보게 되면, 문화는 인간의 창조적 활동 그 자체를 목적으로삼는 것이 아니라, 초월적인 그 무언가를 가리키는 기표적 ‘놀이’로서그 본래적 기능이 드러나게 된다. 이러한 문화의 유희적 성격은 현실 속에서 인간의 업적을 지나치게 심각하게 받아들이지 않게 해 줄 뿐만아니라, 문화에 대한 교리주의적 접근도 막아준다. 이처럼 바르트는 문화의 성령론적 지평을 보여줌으로써 신학과 문화가 자유롭고, 즐겁고, 놀이하듯 만나는 신학적 장을 열어주려 한다. 또한 뮌스터 윤리학 강의에서 바르트는 성령론의 틀 안에서 예술의 기원과 본성을 논한다. 하나님의 종말론적 약속을 기도하면서 기다리는 것은 감사를 요구한다. 감사 속에서 우리는 하나님 안으로 완전히 참여할 것을 지금 여기서 기쁘게 준비하게 된다. 이러한 우리 실존의 종말론적 본성 때문에, 현실의 삶은 ‘놀이’라는 독특한 성격을 가지게 되고, 이때 예술은 현실의 모호함과 나약함과 함께 살아가야 하는 하나님 자녀에게 주어지는 특별한 선물로 정의된다. 그 결과, 순수 예술을 지향했던 낭만주의 미학과 달리, 바르트 사상 속에서 예술은 다양한 인간의 활동과 연계 속에서 자신의 위치를 찾을 수 있으며, 특별히 잘 구성된 신학 체계 내에서 그 종말론적 기원과 윤리적 가치를 발견할 수 있게 된다.
Abstract
Karl Barth’s strong emphasis upon the Word of God and his negative attitude towards the use of image in worship have hindered people from constructively engaging with his discussions of art and culture. While stressing the centrality of revelation in Jesus Christ, however, his Amsterdam lecture entitled “Church and Culture” proposes exploring the problem of culture and art in connection with the Holy Spirit’s eschatological work. Seeing human cultural activities in the light of the Spirit’s redemption, culture is conceived as a game, whose significance lies not in its attainable goals but in what it signifies. The playful nature of culture encourages us not to take the human work in society with the utter seriousness on the one hand, and warns us not to approach culture from a strictly dogmatic perspective on the other. In other words, Barth’s theology of culture offers a possibility that theology and culture meet one another freely, joyfully and playfully. In Barth’s Münster Ethics, the origin and nature of art are presented within the chapter on pneumatology. Our prayerful waiting for God’s eschatological promise requires our gratitude, creating a joyful and free-willed readiness for final participation in God. Because of this eschatological structure of our present existence, life has the distinctive character of play, and art is defined as God’s special gift to God’s children, who have to live with the ambiguity and vulnerability of their everyday life. Unlike the romantic ideal of separating aesthetics from other disciplines, therefore, art should neither isolate it as a sphere of its own, nor seek beauty only for the sake of beauty; rather, it finds its place in relation to various human activities in general and within a well-organized theological framework in particular. In Barth’s Münster Ethics, the origin and nature of art are presentedwithin the chapter on pneumatology. Our prayerful waitingfor God’s eschatological promise requires our gratitude, creating ajoyful and free-willed readiness for final participation in God. Because of this eschatological structure of our present existence,life has the distinctive character of play, and art is defined asGod’s special gift to God’s children, who have to live with the ambiguityand vulnerability of their everyday life. Unlike the romanticideal of separating aesthetics from other disciplines, therefore,art should neither isolate it as a sphere of its own, nor seek beautyonly for the sake of beauty; rather, it finds its place in relation tovarious human activities in general and within a well-organizedtheological framework in particular.
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