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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 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).
Beauty is commonly described as a feature of objects that makes them pleasurable to perceive. Such objects include landscapes, sunsets, humans and works of art ...
In aesthetics, "unity in variety" (sometimes "unity in diversity" [1]) is a principle declaring that in art beauty can come from the variety of diverse components grouped together thus creating a fused impression as a whole. [2]
Line of beauty is a term and a theory in art or aesthetics used to describe an S-shaped curved line (a serpentine line) appearing within an object, as the boundary line of an object, or as a virtual boundary line formed by the composition of several objects.
The feminine beauty ideal is a specific set of beauty standards regarding traits that are ingrained in women throughout their lives and from a young age to increase their perceived physical attractiveness. It is experienced by many women in the world, though the traits change over time and vary in country and culture. [1]
This association, they suggested, lies in the capacity of imagination for image-making and image-forming, which results in a sense of "visualizing" with "the inner eye." [17] [24] An epitome of this concept is Chaucer's idea of the "mind's eye" in The Man of Law's Tale from The Canterbury Tales (ca. 1390). He described a man who, although blind ...