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This page was last edited on 4 October 2020, at 22:56 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may ...
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.
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]
The aesthetics factor was manipulated by differing in terms of color combination, visual layout, and text font, which determine the level of aesthetics. [2] According to the study by Hall and Hanna, users perceived websites with white–black and black–white color combinations as less pleasing and stimulating than ones with non-grayscale color combinations.
The anima is thereby forced into the inner world, where she functions as the medium between the ego and the unconscious, as does the persona between the ego and the environment". [ 26 ] Alternatively, over-awareness of the anima or animus could provide a premature conclusion to the individuation process—"a kind of psychological short-circuit ...
In developed western societies, women tend to be judged for their physical appearance over their other qualities and the pressure to engage in beauty work is much higher for women than men. Beauty work is defined as various beauty "practices individuals perform on themselves or others to elicit certain benefits from a specific social hierarchy."
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 ...
Serpentine lines from Hogarth's The Analysis of Beauty. 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.