On the beauty of nature, paintings and music (original) (raw)
Related papers
Aesthetic mind, 2019
An aesthetic object should be understood and analyzed by the subject in accordance with its object characteristics, except that it is the subject of the subject. In this sense, the aesthetic object, rather than just an object, has all the cognitive characteristics of its artist. The aesthetic subject faces these cognitive characteristics. The perception-perception structure of the subject and the reciprocity relation with the object are examined in this thesis study in order to perceive the aesthetic object correctly and to judge about it. This study is also a study of what the subject can perceive in terms of their perception and interpretation abilities. Additionally, such an approach will enrich the perception-based aesthetic perspectives in the focus of discussions in the philosophy of art.
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.
The Ideal of Beauty and Harmony in the European Fine Art
2021
As a higher form of mastering the world following the laws of beauty, the best works of the European art do not just bring in some aesthetic pleasure but also help to understand (and create) the beautiful. In this research, using comparative, typological, descriptive, visual, philosophical, theological, and artistic analysis methods an analysis of the selected pieces, from the ancient times till present was made. It was traced that the ideal of beauty and harmony largely depended on the peculiarities of each historical period. Development of spiritual culture of the European continent nations underwent many stages: from primitive art through the ancient times and till modernism. In each period fixed rules and norms shaped up the ideal of beauty and harmony, which can be understood only through immersing into a certain epoch via analysis and study of a specific piece of art. Scientific novelty of the results obtained lies in the fact that materials about the ideal of beauty and harmo...
Beauty – A Brief Conceptual Journey
2015
The first part of the essay deals with four dimensions of aesthetic attraction in an attempt to provide a notion of beauty that is rich and robust enough to apply to different sorts and objects of aesthetic praise, including the productions of modern and contemporary arts. The second part confronts this apology of beauty with a number of test cases such as the ugly, the horrible and the sublime, including a discussion of putative couterexamples such as the films of Michael Haneke and the novels of Imre Kertész.
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 20th 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 thematization 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.
Revista de Investigaciones Universidad del Quindío, 2022
Scientists and neuroscientists have recently conducted scientific and neurological research to discover what is behind the beauty and power of artwork in conveying its meaning to its audience. Philosophers have studied black boxes for years and researchers have delved into them lately. In this regard, the present study was conducted to investigate the impact of beauty when facing familiar and unfamiliar works of art. Aesthetics is one of the most important and controversial factors in the history of art and its influence cannot be ignored. Various methodologies of the mind process in the presence of art and aesthetics were discussed for this purpose. The present article has tried to follow up on the origin of beauty in the perceiver by looking at a beautiful phenomenon and by adopting three biological, cognitive, and psychological perspectives and achieve a relatively comprehensive view of beauty and its place in the process of human perception. Based on this, aesthetic pleasure is not only limited to the sense of sight and the external appearance of the city, but it is the result of the effect of all design purposes on the human senses.
Journal of philosophical Investigations , 2024
Nature has aesthetics of its own, what can provoke the human mind into better recognizing the concept of beauty via mental perception. As such, human mind can interact with the nonverbal expressions of nature only to better his/her primitive aesthetic knowledge and reach a more novel recognition of aestheticism via the practice of interpretative deduction. This article has been the result of a series of discussions and dialogues between the authors on the nature of aesthetic geotouring and exploring the natural phenomena based on the Dialectical Method of Socrates and modelled after the Platonic dialogues. The outcome of this dialectic study brings to light the fact that touring in nature through providing the due opportunity for mental perception of aesthetic phenomena can provide a clearer definition of ‘beauty’ in its rich variety. Aesthetic search as such will culminate in forming a more illuminated mental concept of beauty in mind, what can influence human rationale for aesthetic judgment and enrich even more the texture of human aesthetic creation. Such aesthetico-interpretative endeavor might lead to a higher potential for creating more original works of literature and art and culminate in a better judgment about such aesthetic creations.
Periodica Polytechnica Architecture, 2020
This paper is the first part of our work that aims to rethink the concept of beauty as close as possible to its essence, in the way it integrates the science of aesthetics with the field of construction. The study may be further used, within other theoretical and practical works, for physically reflecting the definition of beauty in areas such as architecture, civil engineering or urban planning, and to support professionals in designing and building beautiful objects and constructions. It is important to note at this point that the assumption is that there must be a particular original aspect related to beauty that leads a human-made object to success, which needs to be further identified. The approach to the concept of beauty is through a broadly philosophical approach and partly through the areas mentioned above. The initial study aims to frame the niche of the beauty within the field of aesthetics, continuing the guidelines provided in the Architecture School of Cluj-Napoca. It ...
REFLECTION ON BEAUTY, NATURE AND ART
www.iomr.art, 2020
During these days of withdrawal in ourselves due to confinement, we must not fall into a state of resignation and pessimism, but rather seek new ways of escape which may leave free scope for our minds. These are moments for enjoying calm and for arousing thoughts that may raise us up as human beings. Today, profiting from the sensations that Spring inspires in me, I would like to ponder on the timeless significance of beauty, to appraise the fleeting instant of happiness which our contemplation of it can overwhelm us and meditate on its connection with nature, art and man. A rose in its fullness, a bud outcropping, something as eternal as it is ephemeral in its periodical rebirth; two roses which reblossom every month, of a pale rose colour and winding creeper shape, which stand before me in all their haughty air, as if to declare to me that the origin of beauty lies in man's association with nature due to his capacity to contemplate, observe, feel and grant a value to what is external. These moments are the ideal backround in which our creative impulse is born. A time to spur us on to write, paint or simply to regenerate ourselves, to change the direction of our life, or continue, if possible, with greater energy along the route already chosen. Moments to recall past experiences and to allow ourselves to be drawn back to emotions which had fallen into oblivion....