Aesthetics Essay Example

varies based on factors like social class, cultural lineage and scholastic background. According to Kant’s assertion that beauty is objective and universal suggests that certain entities are universally recognized as beautiful. Modern outlooks on beauty focus less on inherent traits but more on cultural specifics and individual viewpoints. What elements contribute towards forming an aesthetic judgement?

Assessments of aesthetic worth appear to frequently encompass numerous other types of matters. Reactions like revulsion exhibit the intuitive connection between sensory perception and emotional expressions, as well as involuntary behavior such as retching. However, revulsion can often be a taught or cultural consideration; Darwin illustrated this by stating that noticing a trace of soup on a man's beard is repugnant though the soup or beard are not inherently repugnant. The evaluations of aesthetics may be tied with feelings or may partially be manifested in our physical responses, akin to emotions.

Witnessing an awe-inspiring landscape scene can induce a physiological response, such as a raised heartbeat or dilated eyes. Such instinctive reactions might partially construct our decision that the vista is grand. Similarly, cultural factors may influence aesthetic assessments to a degree. For example, during the Victorian era in the UK, African sculptures were perceived as unattractive, but in just a short time span, Edwardian crowds admired the identical sculptures for their beauty. In the book "The Abuse of Beauty", it is suggested that judgments of beauty are potentially tied to appeal and even possibly to sexual allure.

Hence, the appraisal of aesthetic value can be linked to assessments related to economic, political, or moral importance. [7] For example, some may find a Lamborghini appealing due

to its role as a status emblem; however, others might view it unfavorably because it represents excessive consumption and conflicts with their political or ethical beliefs. [8] Further insights on this topic are provided in the "Part and Parcel in Animal and Human Societies" section of Studies in animal and human behavior, vol. 2. pp. 115–195. Cambridge, Mass.: Harvard UP, 1971 (first published in 1950).

Complex and seemingly contradictory conclusions can frequently arise from aesthetic judgments. Just as often, these judgments seem intertwined with intellectual comprehension and interpretation. Our assessments are normally directed at what an object symbolizes or represents for us. Many contemporary aestheticians have claimed that will and desire are nearly inactive during aesthetic experiences, but preference and choice have been seen as significant aspects in aesthetics by some thinkers from the 20th century. This notion was initially established by Hume, but for further insight refer to Mary Mothersill's work "Beauty and the Critic’s Judgment", featured in The Blackwell Guide to Aesthetics, published in 2004.

Aesthetic judgments can be understood to stem from a myriad of sources such as sensory input, emotions, personal opinions, desires, societal and cultural influences, values, subconscious actions, conscious choices, education, instinct, and sociological establishments, amongst others. This plethora greatly depends on the particular theoretical framework utilized. Additionally, anthropological theories like the savanna hypothesis put forth by Gordon Orians et al., suggest that our aesthetic preferences are rooted in our inherent understanding of beneficial human environments.

Studies have demonstrated that individuals derive more pleasure and happiness from observing trees with spreading shapes, as opposed to other tree forms or non-tree entities;[citation needed] Furthermore, Bright green hues,

often associated with healthy, nutrient-rich plants, provide more tranquility than other tree colors, like less bright greens and oranges. Do diverse art forms evoke similar reactions of beauty, disgust, or boredom? The unification of aesthetic judgments across various artistic mediums is another crucial subject in this field.

A human, dwelling, symphony, scent, and mathematical proof can all be deemed as beautiful. What common features give them this recognition? There is a question of what unique element a mathematical proof and a scent may share that results in their mutual acknowledgement as beautiful. The criteria for beauty in art differs from that of music, indicating that each art form possesses its individual terminology for evaluating aesthetic value. [9] Simultaneously, there appears to be a noticeable scarcity of suitable language for precise expression during aesthetic judgement.

An evaluation of beauty cannot be based on observable experience. Hence, given the lack of accuracy, uncertainty arises concerning which interpretations can be agreed upon culturally. Because of the ambiguity in standard English language, the same phrase can portray entirely different emotions felt by two separate individuals. This concept was presented by Wittgenstein in his talks on aesthetics and language plays.

The collective recognition of beauty, involving willing participants from a certain social stratum, can be seen as a communal event often discussed within a specific culture or context. Is there an intrinsic link in aesthetic judgment that allows us to articulate similarities between an attractive house, convincing evidence, and a stunning sunset? [10] To understand this concept fully, we need to study the entire occurrence as Wittgenstein underlined in his aesthetics-centered lectures. Similarly, there's been continuous discourse

on whether our perception of beauty in nature - specifically when recognizing the human form as beautiful - is intended to correlate with appreciating beauty in art or artifacts.

The origins of this concept can be linked to the philosopher Kant, and some aspects are also evident in St. Bonaventure's contributions. [citation needed] The terms art philosophy and aesthetics are often used synonymously, although certain advocates argue for a distinct separation between these interrelated fields. In a practical sense, aesthetic evaluation relates to sensory respect or appreciation for an object that doesn't necessarily have to be artwork. Conversely, artistic evaluation involves the identification, admiration or critique of art or a particular piece of art.

The definition of "Art" has been consistently under discussion to find the most appropriate interpretation. Numerous platforms like books and scholarly articles have played a part in this ongoing conversation about the fundamental comprehension of art. Theodor Adorno, in 1969, stated, “It is self-evident that nothing concerning art is self-evident.”[12][13] Various domains such as artistic creation, philosophy, anthropology, psychology, and programming apply the concept of art but employ divergent operational definitions.

Indeed, the basic comprehension of "art" has experienced numerous changes over time, notably during the 20th century. Today, "art" is commonly referred to as 'creative art' or 'fine art.' This perspective suggests that artists express their talents to showcase creativity, provoke aesthetic admiration from observers, or stimulate profound contemplation on significant subjects.

Often, when a skill is used in creating a functional object, it's considered craft rather than art - an idea intensely disputed among Modern Craft theorists. Similarly, if that same skill is utilized for

commercial or industrial purposes, it might be viewed as design instead of art. However, one could argue that these are just different forms of art known as applied art. Some intellectual minds suggest that the distinction between fine and applied arts lies more in the item's practical use rather than any clear definitional difference. Typically, art doesn't serve any function beyond expressing or conveying a concept. Even as late as 1912, there was a prevalent belief in the Western society that all forms of art pursued beauty and hence anything not seeking beauty couldn't qualify as art.

Artistic trends such as Cubism and Dadaism, including those inspired by Stravinsky, have challenged the belief that beauty is at the heart of art. Danto asserts that these movements effectively removed beauty from not only the avant-garde art culture of the 1960s but also its progressive philosophy. Instead of beauty, concepts like "expression," suggested by Croce or "counter-environment," introduced by McLuhan could potentially replace the previous function of beauty. The idea of "beauty" was revitalized when Brian Massumi merged it with "expression." Jean-Francois Lyotard, a postmodern philosopher from the twentieth century underscored another vital artistic concept - 'the sublime'. Echoing Kennick's theory implies that there might no longer be a single definition for art. As Weitz or Beuys proposed, we may need to view art as a network of interconnected concepts akin to Wittgenstein's method.

Viewed from another angle, it can be stated that "art" is essentially a societal construct, shaped by the parameters defined by art academies, artists and galleries. Regardless of official definitions, anything deemed as art by these entities is recognized as such.

This idea is commonly referred to as the "institutional definition of art" (see Institutional Critique), supported by George Dickie. The categorization of items like a Brillo Box or a bought urinal into the sphere of art was not broadly acknowledged until they were displayed in an artistic context (such as an art gallery) by Andy Warhol and Marcel Duchamp respectively, associating these objects with artistic connotations.

Proceduralism proponents frequently assert that an artwork's defining aspect is not its intrinsic qualities or the reaction it elicits from art establishments post its public unveiling, instead, it's the approach used in crafting or deciphering it. On the other hand, if a reporter pens identical expressions intending to use them as preliminary notes for a forthcoming detailed report, this act isn't considered poetry. However, Leo Tolstoy argues against this view by suggesting that what categorizes something as art is based on audience appreciation and not reliant on the artist's intention.

Functionalist theorists like Monroe Beardsley propose that the categorization of an item as art is contingent on the role it serves in a certain circumstance; the identical Greek vase could have a non-artistic role in one situation (such as for wine storage) and an artistic role in another situation (like aiding in our aesthetic appreciation of human anatomy). Also consider: Disagreements over art classification [edit] What criteria should we apply when evaluating art? Art's complexity extends not only to metaphysical and ontological dimensions but also to the sphere of value theory. For instance, when we witness a rendition of Hamlet, how many artistic pieces are we appreciating, and which ones should we assess?

Potentially, there is

merely a single relevant artistic work, a complete performance, to which many individuals have made contributions, and that exists just fleetingly before it vanishes. Possibly, the script by Shakespeare represents a unique art piece distinct from the play enacted by the group, which in turn is different from the specific performance of this play by this group on this particular night. These three elements can all endure judgment, albeit by different measures. Maybe every participant warrants individual appraisal based on their unique contributions, and each piece of costume or dialogue constitutes its own art form (with the director perhaps tasked with synthesizing them into a cohesive unit).

The same challenges emerge in judging music, film, and even artwork. Should one assess the painting itself, the artist's work, or the context of its exhibition by museum staff? The advent of conceptual art since the 1960s has further complicated these issues. Warhol’s well-known Brillo Boxes, almost identical to actual Brillo boxes at that time, exemplify this issue. Crediting Warhol for the design of his boxes would be incorrect since it was Steve Harvey who designed them. However, the innovative decision to display these boxes as art within a museum setting, alongside other forms of artwork, belongs to Warhol.

Are we evaluating Warhol's concept? His realization of this concept in his preferred medium? The judgement of the curator who permitted Warhol to display the boxes? The final product? Our personal interpretation and comprehension of that product? From a philosophical perspective, how should we regard the artwork? Is it a physical object? Several objects? A classification of objects? An idea? A theoretical object? An abstract unit? An

event, or merely an action perhaps. What ought to be the essence of art itself then?. Debates have been held about different purposes for art, with aestheticians often positing that one objective outweighs others in certain aspects.

For instance, Clement Greenberg advocated in 1960 that each art medium should pursue its distinguishing aspect among all possible mediums and subsequently refine itself to only embody its unique form. [16] On the contrary, Tristan Tzara, a Dadaist, viewed art's role in 1918 as a tool for dismantling a chaotic societal order. “The individual's cleanliness should be asserted after experiencing the intense insanity, an all-out irrationality of a world left to bandits. [17] Various aspirations like formal, creative, self-expressive, political, spiritual, philosophical and even more perceptual or aesthetic ones have often been considered as the conceptualization of what art ought to be.

Art, as described by Tolstoy, is a human pursuit where an individual employs specific outward symbols to deliberately convey their experienced emotions to others. The sharing of these emotions enables others to empathize and connect with those feelings. Consequently, the value of art is inherently tied to the significance of empathy.

Various viewpoints might propose that art can act as a conduit for distinct types of knowledge. It has the power to deliver deep understanding about human existence, and it can intersect with fields such as science and religion. Art may also serve educational, cultural or indoctrination functions. It possesses the ability to heighten our moral perception and foster spiritual growth. Moreover, art could be perceived as an implicit form of politics, facilitating emotional discharge or catharsis. In essence, the value

of an artwork may determine its suitable form. This brings up the query whether these forms of art significantly differ in their values or in their ability to realize the unique value if they don't.

When exploring the worth of art in a systematic manner, we need to consider: for whom it holds value? For the creator of the art? The spectator? The community as a whole or perhaps individuals who aren’t necessarily part of the audience? Can the "value" of art vary in these differing scenarios? Delving into the anticipated value of art aids in framing the connections between artistic endeavours and other actions. Certainly, spiritual aspirations are associated with all forms of art in many circumstances, but where does one draw the line between sacred art and religious beliefs themselves? The reality is multifaceted – Art is simultaneously frivolous from a practical viewpoint yet it is also one of the most crucial human engagements.

There's a saying that if a Vogon Starship lands on earth and signals its destruction, it would question the worth of human existence. The only valuable evidence that humanity might offer in its defense could be a piece of Shakespeare's work, a masterpiece by Rembrandt, or a Concerto from Bach. These precious things essentially characterize what it means to be human. Denis Dutton, the philosopher, came up with seven universally accepted characteristics in aesthetics: 1. Mastery or excellence – Technical skills in art are nurtured, acknowledged, and appreciated. 2. Pure pleasure - People appreciate art for what it is and do not expect any practical utility from it like warmth or food. 3. Style – Art

forms and performances comply with certain compositional rules that categorize them into identifiable styles.

4. Evaluation. Individuals engage in evaluating, admiring, and interpreting different forms of art. 5. Replication. Except for certain unique cases such as music and abstract art, most artistic creations represent worldly experiences. 6. Specific emphasis. Art is differentiated from mundane life and highlighted as an intense focal point of human experience. 7. Creativity. Both artists and their spectators explore and enjoy imaginary worlds within the realm of creativity.

Notwithstanding, one might argue that there are numerous deviations from the categorizations suggested by Dutton. Take for instance, the artwork of modern artist Thomas Hirschhorn, which consciously shies away from demonstrating superior technical skillfulness. Although someone could admire a Madonna painting from the Renaissance period due to its aesthetic appeal, it's crucial not to forget these objects often had (and sometimes continue to have) particular religious relevance. The 'principles of composition' apparent in creations like Duchamp's Fountain or John Cage's 4'33", don't necessarily conform them into any accepted genre, particularly not during their creation.

Additionally, the categories put forward by Dutton appear to be excessively wide-ranging. For instance, whilst developing a theory, a physicist may visualize hypothetical situations. There's a growing interest among scholars in both sciences and humanities towards evolutionary psychology and cognitive science for understanding the relationship between psychology and aesthetics. Besides Dutton, several other scholars like Brian Boyd, Noel Carroll, Nancy Easterlin, David Evans, Jonathan Gottschall, Paul Hernadi, Bracha Ettinger, Patrick Hogan, Elaine Scarry, Christine Buci-Glucksmann, Wendy Steiner, Robert Storey, Frederick Turner, and Mark Turner are also delving into this subject.

Different sociologists and authors

who focus on art and society have scrutinized the philosophy of aesthetics. For example, Raymond Williams suggests that instead of a single aesthetic entity, there exists a spectrum of cultural expressions from common language to experiences identified as art by particular structures, institutions or significant occurrences. Similarly, Pierre Bourdieu disputes Kant's aesthetics asserting that it reflects an experience derived from the upper class's lifestyle and intellectual leisure activities. [edit] Regarding the timeline of aesthetics, there has been a proposal to consolidate this article or section with the History of aesthetics (pre-20th-century).

The bronze sculpture, thought to represent either Zeus or Poseidon and displayed in the National Archaeological Museum of Athens, exemplifies the magnificence of ancient craftsmanship. Prehistoric art instances are rare, shrouded in many enigmas about their creation and intent. As a result, we can only conjecture on the aesthetic doctrines that shaped their production and understanding. The primary inspiration for olden artwork is attributed predominantly to seven notable early civilizations: Egypt, Mesopotamia, Greece, Rome, Persia, India and China.

Every early civilization center created a distinctive style in its artwork. The aesthetic evolution in the West was largely influenced by Greece. During this time, Greek artwork admired the human figure and developed associated techniques to represent muscle structure, balance, attractiveness, and anatomically precise proportions. Additionally, traits like body hair are infrequently portrayed in artworks discussing physical appeal in both Western and Eastern cultures. This preference for Greek-Western aestheticism starkly contrasts with the genre of the grotesque.

Originally, Greek philosophers believed that objects with aesthetic appeal possessed beauty in their own right. Plato, for instance, opined that objects of beauty embodied symmetry,

unity, and balance. Likewise, Aristotle held in the Metaphysics that beauty's universal characteristics included order, symmetry, and precision. [edit] Islamic aesthetics The term "Islamic" in Islamic art isn't strictly bound to religious context. It not only signifies the religion but also refers to any artform born out of an Islamic culture or created within an Islamic environment.

Assuming that all followers of Islam agree on the role art plays in religious traditions, its societal function, or how secular art is connected with the obligation to follow religious teachings would be incorrect. Islamic art often includes non-religious features which are sometimes viewed negatively or even considered prohibited by some Islamic scholars. From an Islamic viewpoint, human-produced artworks can never match up to God's creations and therefore many view attempts at realistically portraying any living being as an affront towards God.

The impact of this inclination has condensed the realm of creative potential to specific art forms like Arabesque, mosaic, Islamic calligraphy, and Islamic architecture, along with any form of abstraction that can acquire non-representational art status. The confined opportunities have been investigated by artists as a channel for creative expression. This has nurtured a positive style and tradition, highlighting the decorative and religious functions of art through non-representational forms like Geometric patterns, floral designs, and arabesques.

Islamic cultures generally prohibit any depiction of humans or animals. Though early Islamic societies showed varying levels of acceptance for the depiction of humans, any such portrayal intended for worship is considered idolatry and is therefore forbidden by Sharia law. Historical Islamic art does contain numerous representations of Muhammad, the principal prophet of Islam. The art

of calligraphy became popular due to the desire to devote oneself to studying the Koran. Such devotion required the scribe to patiently write out each word of the text, promoting deep contemplation on its meaning.

Over time, calligraphic creations started to be valued as artistic pieces, with an increasing emphasis on the intricate illumination and stylizing of the text. This art form expanded beyond the Quran to include other works, earning its appreciation as an independent art form. [edit] Aspects of Indian Art Indian art developed with a focus on creating or symbolically depicting spiritual or philosophical states in the viewers. As mentioned by Kapila Vatsyayan, Indian classic architecture, sculpture, painting, literature (kavya), music, and dance evolved their unique rules based on their mediums but shared common spiritual beliefs from the Indian religio-philosophic mind together with the methodologies for decoding symbol-spiritual state relationships. Particularly in Indian drama and literature, the term 'rasa' is important and usually refers to the emotional nuances embedded in a work by the author and experienced by an 'empathetic spectator' or sah?daya. Poets such as Kalidasa paid special attention to rasa, culminating in a thoroughly developed aesthetic system.

In modern India, 'rasa' a term indicating "flavor", is often used informally to portray the aesthetic experiences in movies. Popular Hindi cinema films which provide a balanced emotional experience are known as "masala mix", enjoyed as rasa by the viewers. The concept of Rasa theory emerged from the Sanskrit text Natyashastra (with 'natya' meaning "drama" and 'shastra' referred to as "science of"). This piece of work is credited to Bharata Muni, where it is proclaimed by the Gods that drama is

the 'Fifth Veda', suitable for the declining age, serving as the finest form of religious education.

The period in which the Natyashastra was penned remains a contentious issue among scholars. Some propose it might coincide with the age of Plato and Aristotle, while others posit it could be as late as the seventh century CE. The manuscript explores the aesthetic principles of rasas and bhavas in its sixth and seventh sections; however, these theories seem to stand separately from the rest of the work. It lays out eight particular rasas and corresponding bhavas, comparing their appreciation to relishing an exquisitely cooked meal. The enjoyment or rasa is obtained both from proper application and excellent quality of ingredients.

The exact interpretation of rasa has not been thoroughly discussed in a theoretical framework, and due to the Natyashastra's concise language, it remains uncertain if we can completely understand the original intent of its author. The understanding of rasas underwent considerable changes with Andandavardhana, an aesthetician hailing from Kashmir. He penned the Dhvanyaloka, a ground-breaking piece that further elucidated on poetic principles. This literary work introduced the ninth rasa known as shanta-rasa—a uniquely spiritual sentiment of inner peace (santa) that is derived from its bhava, which is essentially the increasing weariness towards worldly desires.

This text primarily seeks to refine the literary concept of dhvani, also known as poetic implication, by advocating for the presence of rasa-dhvani, primarily in Sanskrit forms that "suggest" a genuine emotional state or bhava through a word, sentence or an entire work. However, the aesthetic distance allows the discerning observer to savor the rasa, the aesthetic taste of tragedy, heroism,

or romance. The 9th or 10th-century master maestro of the religious doctrine of Kashmir Shaivism and aesthetic commentator, Abhinavagupta took the rasa theory to its apex in his separate expositions on Dhvanyaloka, the Dhvanyaloka-locana (translated by Ingalls, Masson and Patwardhan, 1992) and the Abhinavabharati, his commentary on Natyashastra, sections of which are translated by Gnoli and Masson and Patwardhan. Abhinavagupta introduces for the first time a precise description of rasa which is portrayed as the universal bliss of one's Self or Atman blended with a play's emotional undertone.

In the array of rasas, Shanta-rasa serves as an integral component, but it stands uniquely as the simplest representation of aesthetic pleasure. The analogy Abhinavagupta uses compares it to the cord of a bejeweled necklace; although not visually stunning to many, it provides structure to the necklace, enabling enjoyment of the other eight rasas. The enjoyment of the rasas, particularly Shanta-rasa, is suggested to be closely analogous, but not identical, to the Self-realization bliss experienced by yogis. Additionally, Chinese aesthetic complexion is rich with an extensive history filled with diverse styles and focuses.

Since ancient periods, debates over aesthetics have been prevalent among philosophers. Confucius gave significance to the arts and humanities, particularly music and poetry, proclaiming they enhanced human nature and assisted "li" - an etiquette or rites that returns us to our essential humanness. Conversely, his contrarian, Mozi, contended that music and fine arts were elitist and frivolous, serving the wealthy while neglecting the common public. By the 4th century A.D., discourse about the rightful objectives of art had also started to be penned by artists themselves. Take for instance Gu Kaizhi, who

has three remaining books on such theory of art; the phenomenon of artist/scholars both creating and reflecting upon art is not rare either. The influence of religion and philosophy on art was widespread and varied but never ubiquitous; one can easily discover artworks from nearly any Chinese era that predominantly disregard philosophical and religious themes. [edit] Aesthetics in Sub-Saharan Africa - The eminent trio of minarets of The Great Mosque oversees the central market of Djenne.

The unique artistic fashion of Mali and Sub-Saharan African art is evident in numerous forms and designs, largely untouched by external influences. Its conventional styles and beauty principles have been transmitted across generations, both verbally and through written documentation. Sculpture and performance art hold particular significance in this region, with a strong appreciation for abstract and semi-abstract shapes that existed before major western impacts. This can be seen in the Nok culture references. The Timbuktu mosque exemplifies how specific areas in Africa have cultivated their distinct artistic fashion. [edit] Beauty standards during the Western medieval period

The majority of preserved medieval art is dominantly religious-oriented, generally underwritten by the State, Orthodox or Roman Catholic church, influential church personalities, or affluent secular sponsors. It's common for these artworks to serve a liturgical purpose, being created as things like chalices or churches. Objects of Medieval Art were crafted from rare and valuable elements like Gold and Lapis, the expenditures of which typically surpassed the creator's earnings. The art and aesthetic philos