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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 ...
Butcher, Samuel H., Aristotle's Theory of Poetry and Fine Art, New York 4 1911; Carroll, M., Aristotle's Poetics, c. xxv, Ιn the Light of the Homeric Scholia, Baltimore 1895; Cave, Terence, Recognitions. A Study in Poetics, Oxford 1988; Carlson, Marvin, Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present ...
Plato and Aristotle are key figures in early literary theory who considered literature as simply one form of representation. [3] Aristotle for instance, considered each mode of representation, verbal, visual or musical, as being natural to human beings. [4]
Aristotelianism (/ ˌ ær ɪ s t ə ˈ t iː l i ə n ɪ z əm / ARR-i-stə-TEE-lee-ə-niz-əm) is a philosophical tradition inspired by the work of Aristotle, usually characterized by deductive logic and an analytic inductive method in the study of natural philosophy and metaphysics.
The challenge to the assumption that beauty was central to art and aesthetics, thought to be original, is actually continuous with older aesthetic theory; Aristotle was the first in the Western tradition to classify "beauty" into types as in his theory of drama, and Kant made a distinction between beauty and the sublime.
The idea of art being an imitation was present during the Renaissance when Vasari had said, "painting is just the imitation of all the living things of nature with their colours and designs just as they are in nature." [4] However, Plato's theories on this topic further explored the idea that art imitates the objects and events of ordinary life ...
The Aristotle scholar W. D. Ross suggested that in this conception magnificence turns out to be mainly a matter of aesthetic good taste. [9] The aesthetic role that magnificence acquired with Aristotle exerted a profound influence on rhetoric, the arts, architecture, and art criticism.
The craftsperson requires hyle (timber or wood) and a model, plan or idea in their own mind, according to which the wood is worked to give it the indicated contour or form (morphe). Aristotle was the first to use the terms hyle and morphe. According to his explanation, all entities have two aspects: "matter" and "form".