ahmad rahmanian; shamsol moluk mostafavi
Abstract
While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation ...
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While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation was done through techne and physis. In physis, now translated as nature yet having a broad connotation then as it covered the gods, the creatures came into being by themselves. In techne, they were, however, created by technites. Plato changed not only the Greek thinking but also its attitudes towards the art. According to Heidegger, eidos (idea) is innate and equal to ekphanes and ekphanestaton (what properly shows itself as the most radiant of all is the beautiful). By way of the idea, a work of art comes to appear in the designation of the beautiful as ekphanestaton. Heidegger goes on to consider this a main component of the aesthetic attitude towards the art. One would also recognize two other events in Platonic thinking which could be considered the origins of other components of aesthetics: separation of art and truth as well as separation of beauty and truth. As to on should necessarily be divided into aletheia (truth) and phainomenon (image), the artist is an on phainomenon, and the art and truth become separated. Following his ancestors, Plato draws similarities between to kalon (beauty), to agathon (good) and to alethes (truth) and considers beauty to belong to the realm of on phainomenon and truth to the realm of alatheia in Phaedrus. Therefore, the three mentioned aesthetic components are all rooted in the Platonic Idealism.
reza mahuzi
Abstract
In the analysis of natural and artistic beauty, Kant explains the pleasure of the taste based on free play between Imagination and Understanding upon the principle of teleology of nature. Hence, the aesthetic judgments are produced by indeterminate harmony between Imagination and Understanding. Kant ...
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In the analysis of natural and artistic beauty, Kant explains the pleasure of the taste based on free play between Imagination and Understanding upon the principle of teleology of nature. Hence, the aesthetic judgments are produced by indeterminate harmony between Imagination and Understanding. Kant explains the Sublime upon this principle, but he has not noticed the harmony between Imagination and Understanding in detail. Consequently, some of commentators have held that the Sublime is not important in Kant's philosophy of art. However, is it true that Kant has changed his opinion about aesthetic sensations? This paper aims at showing the fact that the Sublime is very important in Kant's aesthetical thoughts, because it explains the highest sensation of the Imagination and connects the Sublime to ethics and religion.
ali salmani
Abstract
Since Hume believes that beauty is pleasurable sentiment, he can not refer to the certain objective qualities for resolving aesthetical disputes. Hence, he introduces the common judgment of judges as the standard of the taste. Hume himself accept that in spite of efficiency of this standard, tow factors, ...
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Since Hume believes that beauty is pleasurable sentiment, he can not refer to the certain objective qualities for resolving aesthetical disputes. Hence, he introduces the common judgment of judges as the standard of the taste. Hume himself accept that in spite of efficiency of this standard, tow factors, namely different humors and different particular manners, lead to a kind of constricted relativism in the aesthetic judgment. A precise investigation will show that this standard can be successful in the simple and none-comparative situations. However, in the case of comparative judgments - when we speak about preferences of an artist in comparison to the other's ones - this standard can not be efficacious. If beauty is pleasurable sentiment, everybody accredit his sentiment and would not accept other's sentiment.
