Worshippers often find themselves trapped in a false dichotomy between escaping from reality(autonomy) and assimilating with reality (sociology). Worshippers who solely focus on autonomy from reality tend to withdraw from becoming socially engaged Christians due to their fear of being tainted by the sinful aspect of reality. They use their worship as a collective defence mechanism to isolate themselves from reality. Conversely, worshippers who emphasise sociality at the expense of autonomy fail to acknowledge both the sinfulness of the immanent reality and the transcendent realm (the not-yet-kingdom of God). They struggle to maintain a healthy distance from reality, leading their worship to become a mere ritual for the social, political, and ethical progress of humanity, or worse, a tool for perpetuating a sinful society. The article aims to help worshippers understand that their autonomous and social characteristics are not in conflict but rather mutually complementary. To achieve this objective, the article enters into dialogue with aesthetics. Worshippers, being human beings created as God’s artworks, share characteristics with artworks that are both autonomous and social. This article begins by exploring the dual feature of art and suggests the movements of art that arise from its characteristics as follows: 1) having aesthetic distance from ordinary reality (autonomy); 2) resisting against reality (autonomy); 3)imagining an alternative reality (sociality); and transforming reality(sociality). Subsequently, the article examines the dual feature of worshippers, which mirrors the characteristics and movements of art, and presents four aesthetic movements of worshippers as follows: 1) having doxological distance from sinful reality (autonomy); 2) resisting sinful reality (autonomy); 3)imagining an alternative reality (sociality); and 4) transforming the reality(sociality). Worshippers can both reject sinful reality and socially take part in God’s work of redeeming and restoring reality simultaneously.