A Comparative Study on the Significant Elements of the Philosophies of Beauty According to Lao Tzu and Heidegger (original) (raw)
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One Phenomenological Approach to Beauty
European Scientific Journal, ESJ, 2018
The presented contribution attempts to introduce a phenomenologicalexistential analysis of experiencing beauty (aesthetic experience) through Heidegger's approach to the examination of state-of-mind. It points out a topic which no doubt extremely interested Heidegger, but which he did not approach by the method he offered in Being and Time. The text thus attempts to reconstruct what Heidegger's answer to the question "what is beauty?" might have sounded like in this period of his work. The offered analysis respects the original structure of the question regarding the state-of-mind and examines beauty from three viewpoints: 1) what beautiful objects have in common and what characterises them, 2) what characterises aesthetic experience, and finally, 3) what matters to us in an aesthetic experience. Thus it attempts to interpret beauty within Heidegger's understanding of being and being-in-theworld before the "turn" in his thinking. The study points to the cognitive aspects of aesthetic experience in the sense of understanding beauty as the uncovering of being and the truth of the world.
Beauty in The Universal Encyclopedia of Philosophy
Studia Gilsoniana, 2018
The author considers the problem of beauty. He identifies beauty as an analogically understood property of reality, of human products (including art), and of the human mode of conduct, and as that which, in the tradition of Western culture, is expressed under the form of harmony, perfection, or splendor, which as beheld and for beholding arouses complacency or pleasure. The article discusses the following topics: classical theories of beauty, beauty in the metaphysical conception, beauty in aesthetics, the separation of beauty from reality, and the problem of ugliness.
Why beauty and why now? Historical perspectives of the contemporary discourse on beauty
Вестник СПбГУ. Философия и конфликтология, 2018
The term "beauty" has been a key category of aesthetic thinking for a long time. Relevancy of beauty of art, represented in ancient times by Plato's transcendental theory of beauty or more factual inductive beauty of empirically oriented Aristotle and many others thinkers, placed beauty as a priority category of the world, including the world of art. Modern approaches primarily follow Kantian and Hegelian idealistic aesthetics of beauty, however, the state of today's art world, or in the broader context, the aesthetic world of the 20 th century, doubt beauty and even dethrone it from its pedestal. Does it make sense today to examine about beauty of art? Has beauty as an attribute of art not ended its journey together with the idea of the end of art? The paper aims to follow the connotations of beauty losing its place in art in the context of the end of art (Hegel and Danto) or end of its history (Belting). Contemporary new thematiza-tion of beauty after a century dominated by the ugly or the sublime in art (from Kant's and Lyotard's point of view) is an important shift showing beauty not only as a remnant of history but rather as a vital source that is worthily gaining renewed attention and new varieties with the spread of interdisciplinary approaches.
The Logic of Difference between Truth and Beauty: A Comparative Analysis of Western and Eastern Art
Science International, 2022
This inquiry attempts to differentiate and synthesize Western and Eastern art. It also tries to critically analyze the context and classification, and their distinctions from one another and attempts to give extensive understanding shaped by existing accounts. Through the analysis of the notable thinkers' works, the researcher will draw the interrelation of the differences between the West and East condition grounded on truth and beauty. The study observed the logical steps of analyzing truth and beauty such as the distinction and affirmation of the individual between self and no-self, nature between sensual expressions and spiritual concentration, an aspect between form and event, and the classification of logical or illogical perspectives, and its basis between cosmological and phenomenological. This paper also analyzes the Western and Eastern approaches aimed to synthesize and demonstrate the process of art from being to becoming. The truth and beauty of the West and East as opposites assume their interrelationship. Art does not only bridge sensuality into the spiritual spheres but unifies them until the moment of realization which takes place when the difference between the two disappears. Finally, this interrelation of the distinction is viewed as a process of progress towards the ultimacy of art.
On The Truth of Beauty: Nietzsche, Heidegger, Keats
The Heythrop Journal, 1998
It is by virtue of the beautiful that we are able to acquire a lasting remembrance of the true world … Plato describes the beautiful as that which shines forth most clearly and draws us to itself, as the very visibility of the ideal. In the beautiful presented in nature and art, we experience this convincing illumination of truth and harmony, which compels the admission: 'This is true.' 1
The Influences of Heidegger’s Philosophy of Beauty in Francis Bacon's Paintings
2024
Heidegger's existentialism is generally considered the one ideological root of modern Western art. It has significantly influenced the formation and development of modern art which reflects people's mistrust and hopelessness toward capitalist society as well as their alienation in a time of social crisis. In this study, it will look into Francis Bacon's paintings as a representation of modern Western art. This study aims to identify that Francis Bacon's paintings were influenced by Heidegger's philosophy of beauty. The document review and images are used to obtain data for the investigation. Visual analysis and thematic analysis are used to analyze the data collected. The findings showed that Francis Bacon's paintings are in accord with significant elements of Heidegger's philosophy of beauty which are pursuing the truth, existence, and transcendence. The research findings confirm the significant influence of Heidegger's philosophy of beauty on paintings and provide important insights into understanding the diverse phenomena of beauty.
Aesthetics is an elusive discipline which is characterized by its extraordinary variety of definitions and approaches and has been criticized heavily by Heidegger in his phenomenological analysis. One of his main concerns was rooted in his strong concern of subjectivism, as he accused the modern aesthetics of separating the artwork from the world engagement. Thus, the main focus of this essay is to shed light on Heidegger’s main work discussing art named Origin of The Work of Art. In this work, he discusses the aesthetic approach of placing the relationship with artwork within the frameworks of the subject-object dichotomy. Moreover, I will try to bring forth a solution in which the artwork is approached phenomenologically and thus shaping its meaning as a ‘Unity of artwork with creator’ (Ladopoulou).
Philosophy of Beauty: Theory and Special Methodology -Theory and General Methodology of Creativity
The philosophy of beauty / philosophy of creativity through modernist / postmodernist essence configures the new theories of creativity, in continuous access to the ten possibilities of PAG / Principle of Global Axiology / professional epistemic format. By consensus, the two recent theories and methodologies of creativity certify the following conclusions: TSC is the integrationist theory prone to the interaction of the two creative factors: attitude, intelligence; the exercise taking place in integrative progression: multiple intelligences / Guilford - multiple graces /L. Botezatu, in a circular futurological leap: Man, horizon of mysteries (L. Blaga) - Man, horizon of the Great Virtues (L. Botezatu); from divergent to convergent. This theory carries the burden of covering the theories of professional specificity at the level of: word art - art of education ("6" - to - "6") in estimative methodological format: MVPF-MECA = TMSC / Theory and Special Methodology of creativity. The General Theory and Methodology of Creativity marks the advantages of the diurnal preoccupations of the intellectual, placed in the service of the pleasure of movement on the table of values of the world. TMGC configures the leap of creative individuality in the double manifestation of generativity relative truth - absolute truth: • Speculative value process: return to essence - ascension in spirituality; • Eruptive value product: the spontaneity of the authentic overflow into the phenomenal in the dismissal of the fifth universal law of the world - the Law of Unity through Love. Keywords: philosophy of creativity, art of education, professional culture, philological-centric culture, PAG.