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圣经是巴尔塔萨神学美学的真正根基,其神学美学体系最终须回归圣经神学这个基督教信仰的活水源头。与其《旧约神学》(第六卷)相比,在其《新约神学》(第七卷)中这种基础性地位尤为明显。按照巴尔塔萨神学美学之思想路向,最后一卷《新约神学》才真正回返第一卷《形式的观照》所设定的神学美学核心主题——形式(耶稣基督)的荣耀,并给予相应的圣典支撑。新约荣耀神学(美学)因此是巴尔塔萨神学美学的真正内核和基础。惟有理解了其新约荣耀美学,才能理解其神学美学如何要环绕通过爱而彰显(基督)形式的荣耀这一核心主题的意义。巴尔塔萨的新约荣耀美学,从作为尘世中神圣荣耀之中心形式的道成肉身(verbum caro factum)展开,经历“我们看见他的荣耀”(vidimus glorium eius)的高潮阶段,最后将目光落在人对神圣荣耀的回应上面,颂赞荣耀(in landemgloriae)因此成为圣经神学美学之终结主题。
The Bible is the true foundation of Balthasar theological aesthetics, and its theological aesthetics ultimately needs to return to the living source of the Christian faith of biblical theology. This fundamental position is more pronounced in New Testament theology (Volume VII) than in Theology of the Old Testament (Volume VI). According to Balthasar’s theological aesthetics, the last volume, “The New Testament theology,” really returns to the glory of the core theological aesthetics of the form (Jesus Christ) set forth in Volume One, “The Form of Observations,” and gives corresponding Holy Scripture support. The New Testament glorification of theology (aesthetics) is thus the true nucleus and foundation of Balthasar theological aesthetics. Only by understanding its New Testament glory aesthetics can one understand the significance of its theological aesthetics revolving around the central theme of the glory of the form of (Christ) being revealed through love. Balthasar’s New Testament glory aesthetics begins with the verbum caro factum as the central form of divine glory in the earth, culminating in the climax of “vidimus glorium eius” In response to the sacred glory of man, in landemgloriae becomes the ultimate theme of theological aesthetics of the Bible.