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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. Beauty, art and taste are the main subjects of aesthetics, one of the fields of study within philosophy.
Philosophers who have given influential objectivist accounts include Plato, and in particular his Theory of the Forms; Immanuel Kant, who argued that the judgement of beauty, despite being subjective, is a universally practiced function of the mind; Noam Chomsky, whose "nativist" theory of linguistics argues for a universal grammar (i.e., that ...
According to Kant, beauty is subjective and universal; thus certain things are beautiful to everyone. [23] In the opinion of Władysław Tatarkiewicz, there are six conditions for the presentation of art: beauty, form, representation, reproduction of reality, artistic expression and innovation. However, one may not be able to pin down these ...
The beauty which is spread over the face of visible nature is an emanation from this spiritual beauty, and is beauty because it symbolizes and expresses the latter. Thus the beauty of a plant resides in its perfect adaptation to its end, a perfection which is an expression of the wisdom of its Creator.
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 ...
For Kant, beauty is not a property of any object, but an aesthetic judgement based on a subjective feeling. In aesthetics, the concept of taste has been the interest of philosophers such as Plato, Hume, and Kant. It is defined by the ability to make valid judgments about an object's aesthetic value.
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).
In the division of the perception between objective and subjective resilience opposes a joint operation. [11] The beauty in the work is perceived objectively, it is the first fraction of the second where the spectator is in front of the work, then intervenes the subjective judgment in relation to the experience of this one.