AESTHETICS

Aesthetics is the philosophical study of beauty and taste, but few philosophical systems or trends take aesthetics quite as seriously as does existentialism. Aesthetics has traditionally been part of other philosophical pursuits like the investigation of epistemology or ethics. In existentialism, however, art is in some ways the very medium through which philosophy is expressed and communicated. It is more scientifically defined as the study of sensory or sensoriemotional values, sometimes called judgments of sentiment and taste. More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature.Aesthetics is a sub discipline of axiology, a branch of philosophy, and is closely associated with the philosophy of art. Aesthetics studies new ways of seeing and of perceiving the world.

Culture and Nature

Aesthetics is a sub discipline of axiology, a branch of philosophy, and is closely associated with the philosophy of art. Aesthetics studies new ways of seeing and of perceiving the world the psychology of the arts is concerned with such elements of the arts as human responses to color, sound, line, form, and words and with the ways in which the emotions conditions such responses. Criticism confines itself to particular works of art analyzing their structures, meanings and problems comparing them with other works, and evaluating them. The word aesthetics was introduced in 1753 by the German philosopher Alexander Gottlieb Baumgarten, but the study of the nature.

PURPOSE OF AESTHETICS
Although some feeling for beauty is perhaps a universal among men, the same cannot be said of the understanding of beauty. The average man, who may exercise considerable taste in personal adornment. In the decoration of the home, or in the choice of poetry

and painting, is at loss when called upon to tell what art is or to explain why he calls one thing beautiful and another ugly. Even the artist and the connoisseur, skilled to produce or accurate in judgment, are often wanting in clear and consistent ideas about their own works or appreciations Here, as elsewhere, we meet the contrast between feeling and doing, on the one hand, and knowing, on the other. Just as practical men are frequently unable to describe or justify their most successful methods or undertakings, just as many people who astonish us with their fineness and freedom in the art of living are strangely wanting in clear thoughts about themselves and the life which they lead so admirably, so in the world of beauty the men who do and appreciate are not always the ones who understand.

AESTHETIC PLEASURE
Aesthetics distinguished from both sensual and intellectual pleasure, aesthetic pleasure and aesthetic enjoyment is the emotional element in our response to works of art and natural beauty. Since Kant, many theorists have accepted that aesthetic pleasure is a result of a disinterested and non conceptual engagement with an object. But it is a point of dispute whether this pleasure arises from apprehending the formal character of the object, its content, or both. It is also unclear how many subjective elements contribute to this process.

AESTHETIC ENJOYMENT
As in other subjects, beauty is in the eye of the beholder. Some woodland owners Prefer the uniform neatness of same size; same species trees planted in rows, while others enjoy the random effects of varying sizes and species in a stand that is more natural appearing. However, there may be other reasons besides aesthetics for managing your stand, a certain way it can have effects on trees growth and impacts on wildlife habitat.

THEORY OF BEAUTY

Beauty is a characteristic of a person, animal, place, object, or idea that provides a perceptual experience of pleasure, meaning, or satisfaction. Beauty is studied as part of aesthetics, sociology, and social psychology and in culture. The rose window at one end of the upper chapel. The Sainte-Chapelle completed in 1248 is considered the greatest achievement of the raynnonant Period of Gothic architecture.

PROBLEMS OF AESTHETICS
Aesthetics is the branch of philosophy that is concerned with the analysis of concepts and the solution of problems that arise when one contemplates aesthetic objects. 1. What is the aesthetic attitude? Distinguished from the way of looking at the world. The aesthetic attitude is most common opposed to the practical attitude. Perceive For perceiving sake. However, it might for the sake of something else, namely enjoyment. 1. The aesthetic way of looking is also antipathetic to the personal. We must not make any personal involvement, we may have with the charters or the problems in the play substitute for a careful viewing of the play. 2. Disinterestedness: Impartial. It does not appear to be a very useful term when one is attempting to describe the aesthetic way of looking at things.

ART AND MORALITY

Art is the highest form of expression, and exists for the sake expression. Through art thoughts become visible. Back of forms are the desire, the longing, the brooding creative instinct, the maternity of mind and of mind and the passion that give pose and swell outline and color. Art has nothing to do directly with morality or immorality. It is its own excuse for being; it exists for itself. Morality is the harmony between act and circumstances. It is the melody of conduct. A wonderful statue is the melody of proportion. A great picture is a melody of form and color.

AESTHETIC UNIVERSALS
The philosopher Denis Dutton identified seven universal signatures in human aesthetics: Expertise or virtuosity. Technical artistic skills are cultivated, recognized, and admired. No utilitarian pleasure. People enjoy art for art's sake, and don't demand that it keep them warm or put food on the table. Style Artistic objects and performances satisfy rules of composition that place them in a recognizable style. Criticism People make a point of judging, appreciating, and interpreting works of art Imitation With a few important exceptions like abstract painting, works of art simulate experiences of the world. Special focus Art is set aside from ordinary life and made a dramatic focus of experience.

HISTORY OF AESTHETICS
Ancient aesthetics Ancient art was largely, but not entirely, based on the seven great ancient civilizations: Egypt, Mesopotamia, Greece, Rome, Persia, India and Chi na. Each of these centers of early civilization developed a unique and characteristic style in its art. Greece had the most influence on the development of aesthetics in the West. Islamic aesthetics Islamic art is not, properly speaking, an art pertaining to religion only. The term "Islamic" refers not only to the religion, but to any form of art created in an Islamic culture or in an Islamic context. It would also be a mistake to assume that all Muslims are in agreement on the use of art in religious observance, the Proper place of art in society, or the relation between secular art and the demands placed on the secular world to conform to religious precepts. Islamic art frequently adopts secular elements and elements that are frowned upon, if not forbidden, by some Islamic theologians.

Modern aesthetics From the late 17th to the early 20th century Western aesthetics underwent a slow revolution into what is often called modernism. German and British thinkers emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at beauty.

KNOWLEDGE OF BEAUTY
Beauty is an illusive quality. It is our experience that guides us in getting a well-balanced idea of beauty. It would be difficult to find another term in human language more used and abused than beauty. The various definitions of beauty are amazingly conflicting. All of which proves, obviously, the complexity of its nature and of the multi-faceted character of its appeal. What is our basic experience of beauty? 1. First beauty pleases This is the universal experience and judgment of all mankind. No one can call beautiful that which displeases and annoys. This is the true at least under this particular aspect. 2. Beauty gives disinterested pleasure In other words, the pleasure derived from beauty is styled "aesthetic pleasure. This means that the object perceived as beautiful is separate from any other pleasure. 3. Beauty gives disinterested intellectual pleasure Man is the only animal which appreciates beauty. Brutes do not contemplate the beauty of flowers, hills, woods, sunsets, etc., nor do they manifest anything of joy that man feels in the contemplation of these things. 4. Beauty gives a disinterested intellectual sensuous pleasure. The intellect is necessary for the perception of the beautiful, because beauty has an intelligible content. The intellect perceives beauty through the mediation of the senses.