Apophatic Stylistics as a Version of the Ontology of Art

This article proposes an ontological revision of the foundations of art historical analysis, which has traditionally relied on the hermeneutics of style expressed through a system of binary oppositions (from Wölffl in to Baxandall). In contrast to this relational model, which defines an artistic phenomenon through its difference from another style, the theory of apophatic stylistics is put forward. Borrowing its fundamental gesture from negative theology, the theory postulates that an artistic principle or pattern asserts itself not dialectically, but through a radical negation of all that it is not–of the entire mute materiality of the world of “things themselves.” The article provides numerous examples from various arts, from classical to the most recent, substantiating the necessity of apophatic stylistics as a sub-discipline of art history and, simultaneously, an essential practical component of the philosophy of art, crucial for the accuracy of intermedial generalizations. The article argues that this approach has direct ontological implications, resonating with Graham Harman’s project of Object-Oriented Ontology (OOO). Within OOO, a work of art is understood not as a representation or a product of artistic will, but as an autonomous object possessing a “withdrawn reality.” The task of the artist, therefore, shifts from mimesis to the act of revealing this objecthood, which transforms the formula summarizing the spirit of Duchamp’s enterprise: “the whole world readymades itself.” Through a reinterpretation of Rosalind Krauss’s concept of the index and the category of “zadannost” (“givenness,” in the Neo-Kantian and Bakhtinian tradition), the article demonstrates how apophatic stylistics shifts the focus from anthropocentric categories of intention and cultural context (“point of assemblage”) to an encounter with the otherness of the artistic object itself in its self-sufficient being (“point of vivification”). The article substantiates the apparatus of apophatic stylistics, provides a detailed innovative terminology for this discipline, and justifies its analytical procedures. This enhances the practical significance of the article, making it not only a contribution to the philosophy of art but also an instructive foundation for analyzing any work of art using the author’s proposed method.