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Beauty, together with art and taste, is the main subject of aesthetics, one of the major branches of philosophy. [3] [4] Beauty is usually categorized as an aesthetic property besides other properties, like grace, elegance or the sublime. [5] [6] [7] As a positive aesthetic value, beauty is contrasted with ugliness as its negative counterpart.
Art in thus effecting a revelation of the absolute seems to attain a dignity not merely above that of nature but above that of philosophy itself. Schelling throws but little light on the concrete forms of beauty. His classification of the arts, based on his antithesis of object and subject, is a curiosity in intricate arrangement.
The argument from beauty (also the aesthetic argument) is an argument for the existence of a realm of immaterial ideas or, most commonly, for the existence of God, that roughly states that the evident beauty in nature, art and music and even in more abstract areas like the elegance of the laws of physics or the elegant laws of mathematics is evidence of a creator deity who has arranged these ...
Slater holds that the "full field" of aesthetics is broad, but in a narrow sense it can be limited to the theory of beauty, excluding the philosophy of art. [1] Aesthetics typically considers questions of beauty as well as of art. It examines topics such as art works, aesthetic experience, and aesthetic judgment. [15]
The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. [18] Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer works of art.
The first part of The Sense of Beauty is devoted to the development of a definition of beauty. Santayana rejects the previous notion of beauty as ″the symbol of divine perfection″ and instead builds his theory of beauty on a re-definition of aesthetics being concerned with ″the perception of values″ (§1).
The cubists, dadaists, Stravinsky, and many later art movements struggled against this conception that beauty was central to the definition of art, with such success that, according to Danto, "Beauty had disappeared not only from the advanced art of the 1960s but from the advanced philosophy of art of that decade as well."
Art and (aesthetic) mythology, according to Dewey, is an attempt to find light in a great darkness. Art appeals directly to sense and the sensuous imagination, and many aesthetic and religious experiences occur as the result of energy and material used to expand and intensify the experience of life.