To try to explain how and why aesthetics is understood, as a philosophical endeavor should first start with what I think and feel through my learning experiences what is art. Art for me is what is pure about the art form and what makes it beautiful. Beauty in art is what enhances individual senses to makes us feel all our senses are united as one. When these traits come together you are in presence of a work of art in my mind and the definition of aesthetics in art.
When interpreting writings from this time, it is worth noticing that it is debatable whether an exact equivalent to the term beauty existed in classical Greek. Every beautiful object is so called because it serves some rational end: Socrates rather emphasized the power of beauty to further the more necessary ends of life than the immediate gratification which a beautiful object affords to perception and contemplation.
His doctrine puts forward the relativity of beauty. Platoin contrast, recognized that beauty exists as an abstract F orm. It is therefore absolute and does not necessarily stand in relation to a percipient mind.
Plato[ edit ] Of the views of Plato on the subject, it is hardly less difficult to gain a clear conception from the Dialogues, than it is in the case of ethical good. In some of these, various definitions of the beautiful are rejected as inadequate by the Platonic Socrates.
At the same time we may conclude that Plato's mind leaned decidedly to the conception Essays on the history of aesthetics an absolute beauty, which took its place in his scheme of ideas or self-existing forms. This true beauty is nothing discoverable as an attribute in another thing, for these are only beautiful things, not the beautiful itself.
Love Eros produces aspiration towards this pure idea.
Elsewhere the soul's intuition of the self-beautiful is said to be a reminiscence of its prenatal existence. As to the precise forms in which the idea of beauty reveals itself, Plato is not very decided.
His theory of an absolute beauty does not easily adjust itself to the notion of its contributing merely a variety of sensuous pleasure, to which he appears to lean in some dialogues. He tends to identify the self-beautiful with the conceptions of the true and the good, and thus there arose the Platonic formula kalokagathia.
So far as his writings embody the notion of any common element in beautiful objects, it is proportion, harmony or unity among their parts.
He emphasizes unity in its simplest aspect as seen in evenness of line and purity of color. He recognizes in places the beauty of the mind, and seems to think that the highest beauty of proportion is to be found in the union of a beautiful mind with a beautiful body.
He had but a poor opinion of art, regarding it as a trick of imitation mimesis which takes us another step further from the luminous sphere of rational intuition into the shadowy region of the semblances of sense.
Accordingly, in his scheme for an ideal republiche provided for the most inexorable censorship of poets, etc.
An example of Plato's considerations about poetry is: He saw the absence of all lust or desire in the pleasure it bestows as another characteristic of the beautiful. Aristotle finds in the Metaphysics the universal elements of beauty to be order taxissymmetry and definiteness or determinateness to orismenon.
In the Poetics he adds another essential, namely, a certain magnitude; the object should not be too large, while clearness of perception requires that it should not be too small.
Aristotle was passionate about goodness in men as he valued "taking [its] virtues to be central to a well-lived life. At the same time he allowed that the good might under certain conditions be called beautiful. He further distinguished the beautiful from the fit, and in a passage of the Politics set beauty above the useful and necessary.
|Essays on the history of aesthetics /||Combining exposure to art history with the desire to foster art appreciation in others represents a happy medium.|
|Holdings : Essays on the history of aesthetics / | York University Libraries||Malcolm Budd Abstract The book contains a selection of essays on aesthetics, some of which have been revised or added to. A number of the essays are aimed at the abstract heart of aesthetics, attempting to solve a cluster of the most important issues in aesthetics which are not specific to particular art forms.|
|Essays on the history of aesthetics (Book, ) [benjaminpohle.com]||Artistic formalism has been taken to follow from both the immediacy and the disinterest theses Binkley—; Carroll20—|
|Essays on the history of aesthetics (Book, ) [benjaminpohle.com]||If you look up the definition of aesthetics it will probably say to some extent, the particular idea of what is beautiful or artistic.|
|History of aesthetics before the 20th century - Wikipedia||When interpreting writings from this time, it is worth noticing that it is debatable whether an exact equivalent to the term beauty existed in classical Greek.|
Aristotle's views on fine art distinctly recognized in the Politics and elsewhere that the aim of art is immediate pleasure, as distinct from utility, which is the end of the mechanical arts. He took a higher view of artistic imitation than Plato, holding that it implied knowledge and discovery, that its objects not only comprised particular things which happen to exist, but contemplated what is probable and what necessarily exists.
In the Poetics he declares poetry to be more philosophical and serious a matter spoudaiteron than History. He gives us no complete classification of the fine arts, and it is doubtful how far his principles, e. According to him, objective reason nous as self-moving, becomes the formative influence which reduces dead matter to form.
Matter when thus formed becomes a notion logosand its form is beauty. Objects are ugly so far as they are unacted upon by reason, and therefore formless. The creative reason is absolute beauty, and is called the more than beautiful.
There are three degrees or stages of manifested beauty:The aesthetic experience is generally considered to be an event or object that produces an experience not necessarily positive, but one that still produces an exciting, enlightening, or even a transcendental effect.
One necessary element is the figurative meaning of the object or event that allows /5(9). The present collection of essays on the history of aesthetics and the philosophy of art is both a symptom of that revival, and a contribution to its continuation.
The History of Human Beauty Essays - Throughout history, civilizations have admired the beauty that the world has presented, but isn’t beauty held in the eye of the beholder. The word can be used to describe a variety of things.
It can describe places, animals, objects, people and even ideas. The concept of the aesthetic descends from the concept of taste. The Concept of the Aesthetic.
Much of the history of more recent thinking about the concept of the aesthetic can be seen as the history of the development of the immediacy and disinterest theses. –––, , Contemplating Art: Essays in Aesthetics, Oxford: Oxford.
1 Introduction A Brief History of “Aesthetics” Today the term aesthetics refers to an identifiable subdiscipline of philosophy concerned with the nature and expression of . Nature, in Kant's aesthetics, is the primary example for beauty, ranking as a source of aesthetic pleasure above art, which he only considers in the last parts of the third Critique of the Aesthetic Judgment.