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The sublime as one of categories of aesthetics has given a great influence over art. Particularly, painters of Color-field Abstract, which can be considered as the art of the sublime, have tried to sublimate their art to the level of spirituality through expression of sublimity. The purpose of this study is to grasp distinctive peculiarities of sublimity expressed by Rothko, a Color-field painter, in his architectural work, Rothko Chapel, and manifested by Feldman through his musical piece, also titled Rothko Chapel, respectively. In conclusion, it is found that sublimity was expressed in both works through ‘immobile procession’ corresponding to ‘dualism’ of the sublime as Kant defined. More specifically, it is clarified that such immobility was expressed through the attributes of the sublime as suggested by Burke, and they implied dualism.