Metaphysical Foundations of Beauty in Pseudo-Dionysius's Work and It's Influence on Christian Aesthetics

Comparing to the Greek and Latin Fathers of the Church, in the aesthetic tradition of medieval centuries there is no standpoint about beauty more systematic than what is found in Pseudo-Dionysius’s works. He draws upon neo-Platonic philosophers’ thoughts, especially those of Proclus, for expressing his ideas. Like neo-Platonic philosophers, he believes in the metaphysical status of beauty. Accordingly, he begins his discussion with imperceptible issues, rather than perceptible ones, and then speaks of the emanation of perceptible beauty from pure beauty. Moreover, and contrary to the empirical tradition of the Greek in which the issue of beauty is located in an experimental realm, he situates the beauty in a meditative context; hence the beauty finds a mystical and secret aspect. Furthermore, he argues for the concept of light in aesthetics and adds the criterion of clarity to the conditions of beauty. These views of Dionysius have affected both Western and Eastern Christian aesthetics. In Latin tradition he was a source of influence for Eriugena, Hugh of Saint-Victor, Suger of Saint-Denis and Thomas Aquinas; in Byzantine tradition the proponents of icons made utmost use of his works in such a way that his works were the second point of reference after the Bible.