La esencia del arte : un análisis estético - ontológico de la película Andrei Rublev de Andrei Tarkovski

Abstract

El presente ensayo analiza la película Andrei Rublev (1966) de Andrei Tarkovski desde la estética y ontología de Martin Heidegger, con el objetivo de explorar la esencia del arte en la síntesis entre cine y filosofía. La investigación examina la vida y pensamiento estético de Tarkovski, su concepción del arte como vía espiritual y la estructura episódica de la obra. Asimismo, expone los fundamentos de la ontología heideggeriana, centrados en categorías como ser-en-el-mundo, cuidado, angustia, temporalidad y el arte como acontecimiento de verdad. El ensayo sostiene que Andrei Rublev es un acontecimiento ontológico que revela la condición humana frente a la finitud, la violencia y la esperanza, entendiendo el arte como un modo de pensamiento y experiencia que afirma la vida.

This essay analyzes Andrei Tarkovski’s film Andrei Rublev (1966) through the lens of Martin Heidegger’s aesthetics and ontology, with the aim of exploring the essence of art in the synthesis between cinema and philosophy. The research is structured into four chapters. First, it examines Tarkovski’s life and aesthetic thought, highlighting his conception of art as a spiritual path and a search for the absolute. Second, it provides a contextual and narrative overview of Andrei Rublev (1966), including the film’s reception in the Soviet Union and a detailed analysis of its episodic structure. The third chapter presents the foundations of Heideggerian ontology, focusing on categories such as beingin- the-world, care, anxiety, temporality, and art as an event of truth. Finally, the fourth chapter synthesizes both approaches, examining the figure of the artist as Dasein, artistic creation as a transformation of memory, art as the unconcealment of truth, and the ethical dimension of the work in relation to the spectator. The essay argues that Andrei Rublev (1966) is not merely a filmed biography, but an ontological event that reveals the human condition in the face of finitude, violence, and hope. Art emerges as a space of responsibility and truth, where memory, suffering, and redemption are intertwined. The synthesis between Tarkovski and Heidegger allows us to understand art not as ornament or commodity, but as a mode of thought and experience that affirms life amidst historical suffering.