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Aesthetic conventions were things that hindered freedom and therefore art had to be able to arise directly from its original sources: spontaneity and immediacy were important. Examples of immediate expression, unhindered by all sorts of aesthetic layers above it, they found especially in children's drawings and in African folk art .
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
Significant form refers to an aesthetic theory developed by English art critic Clive Bell which specified a set of criteria for what qualified as a work of art. [1] In his 1914 book, Art, Bell postulated that for an object to be deemed a work of art it required potential to provoke aesthetic emotion in its viewer, a quality he termed ...
[5] The third type which Zangwill identifies as representing the transition of the philosophy of aesthetics into the 21st century is that of moderate formalism, where its principal exponents defend the principle "that all the aesthetic properties of works of art in a select class are formal, and second, that although many works of art outside ...
Aesthetics in cartography relates to the visual experience of map reading and can take two forms: affective responses to the map itself as an aesthetic object (e.g., considering a map to be "beautiful," or "interesting," or "frustrating"), and affective responses to the geographic subject of the map (e.g., considering the mapped landscape as ...
The neglect of aesthetic theory to consider the role of sensibility in everyday life was first pointed out by Katya Mandoki who in 1994 coined the word Prosaics [4] (drawing a distinction from Aristotle’s Poetics [5] focused on art) to denote a sub-discipline that would specifically inquire the aesthetics involved in daily activities emphasizing the styles and forms of expression in face-to ...
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[19] This is the book that first introduced the term "wabi-sabi" into Western aesthetic discourse. Wabi-sabi concepts historically had extreme importance in the development of Western studio pottery; Bernard Leach (1887–1979) was deeply influenced by Japanese aesthetics and techniques, which is evident in his foundational book A Potter's Book.