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Showing 20 results for Beauty
Amir Nasri, Volume 1, Issue 1 (1-2012)
Abstract
Comparing to the Greek and Latin Fathers of the Church, in the aesthetic tradition of medieval centuries there is no standpoint about beauty more systematic than what is found in Pseudo-Dionysius’s works. He draws upon neo-Platonic philosophers’ thoughts, especially those of Proclus, for expressing his ideas. Like neo-Platonic philosophers, he believes in the metaphysical status of beauty. Accordingly, he begins his discussion with imperceptible issues, rather than perceptible ones, and then speaks of the emanation of perceptible beauty from pure beauty. Moreover, and contrary to the empirical tradition of the Greek in which the issue of beauty is located in an experimental realm, he situates the beauty in a meditative context hence the beauty finds a mystical and secret aspect. Furthermore, he argues for the concept of light in aesthetics and adds the criterion of clarity to the conditions of beauty. These views of Dionysius have affected both Western and Eastern Christian aesthetics. In Latin tradition he was a source of influence for Eriugena, Hugh of Saint-Victor, Suger of Saint-Denis and Thomas Aquinas in Byzantine tradition the proponents of icons made utmost use of his works in such a way that his works were the second point of reference after the Bible.
Fatimeh Raahil Ghavami, Volume 1, Issue 4 (11-2012)
Abstract
The climax of this view is represented in Neo-Platonism that if the world is beautiful it is because it reflects the image of Soul. Neo-Platonists don’t regard themselves as establishers of a new philosophy (though they establish one), but they believe themselves as the redeemers of Plato’s philosophy from those aberrations burden over it during the time. Plotinus, as the last major philosopher of ancient epoch, historically stands at a timeline which separates ancient world from middle ages. His contemplations on the realm of philosophy and art, especially those on the concept of beauty, have been among the most influential views. In this article, according to what Plotinus has proposed, the semantic roots of “form” and “content” would be explored next to their relationship and importance. The author tries to find the answers to these questions: what is Plotinus basic world view and what basic principles could be found in it? How does he define beauty, art and artwork and what is their status in his world view? After exploring his idea, it will be found that in Plotinus’s view, being means beauty and beauty means being form means beauty and beauty means form God means beauty, good means beauty, love means beauty and beauty means love. According to this definition, Plotinus regarded everything and every concept in this world to be filled with form (beauty/love). Form, as the basic element of being and existence, is an “image of content” and artist, as the creator of the form, produces his work not by imitating secondhand versions of this worldly paradigms, but by copying the original one (ideas). Another conclusion that could be taken from this article is that form has relationship with abstraction and abstraction painting has relationship with the world of ideas.
Ahmad Rahmanian, Volume 1, Issue 4 (11-2012)
Abstract
According to the interpretation which is based on Being and Truth derived from Heidegger’s narration of history of Aesthetics, for the Greek, Art was a way to generate, to disclose, the beings therefore, it was a way for the establishment of the truth. So the status of art was well-defined and the need to it was inevitable. In Plato’s thought – by his own conception of art and generation [poiesis] on the basis of the theory of Idea – art lost his early relation to truth, and then it was to decide on its status in the human life. This characterizes the beginning of Aesthetics. Moreover, Plato’s thought as the origin of Aesthetics has the elements characterized as the basic elements of Aesthetics it means the entrance of Beauty to the definition of art and divergence among beauty and truth. During modern age and the emergence of subjectivism the divergence among the beautiful, the true, and the good had been completed and the artwork turned to an object of aisthesis. Therefore, art as the role of creating the beautiful and the aesthetic pleasure couldn’t have essential role in human life. This is the event characterized as the end of art in Hegel’s Aesthetics. However, The last phases of the history of Aesthetics is characterized by Nietzsche and Wagner’s attempts in order to make restitution for art’s necessity, though, Heidegger believes, these attempts couldn’t be successful.
Hamed Azizian Gilan, Volume 2, Issue 5 (2-2013)
Abstract
This article would expose a close re-reading of two classical concepts in art history. Using indeterminate color dialectic, contemporary critic and artist Jeremy Gilbert-Rolfe tries to provide an artistic testimony in favor of the challenging strangeness of the beauty. On the other hand, while calling into question the thinking of philosophers like Kant and Lyotard he wants to shed new lights on the task of abstract art and the potentiality of this art for illustrating the sublime. Rolfe believes in the return to the beauty and insists on the concept of beauty as something frivolous, pictorial and concrete. He also mentions the sublime presence of androgyny which, according to him, pertains to a passive-aggressive aspect and entails the beauty. Therefore, contemporary sublime finds a pictorial dimension in the very nature of transformation. By the means of the blankness and the non-written, contemporary sublime liberates itself from the autonomy of the concept of reason and turns the absence of the un-displayable into a simultaneously tangible and intangible presence.
Esmael Panahi, Abbas Oskoueian, Volume 3, Issue 10 (4-2014)
Abstract
In aesthetic theories of western philosophical
schools, beauty and its perception
are investigated and explained in terms of
sensory perception, in a subjective approach
and merely from an epistemological
perspective. But in Islamic philosophy
and mysticism we find a distinctive
approach to the problem of beauty and
its perception. This paper is an attempt
to understand of this approach through
the study, reconstruction and explanation
of the concept of the beauty and its perception by Rumi’s key term, “Hayra”.
On his understanding, through inner perception
of manifestation of divine beauty
and creative imagination, human drowns
in waves of love and perplexity ocean
an ontological perplexity which will lead
him to the beach of guidance and salvation.
Perception of beauty in Rumi’s point
of view is not a mere sensual pleasure, but
a way to guidance and development of the
wayfarer’s existence and connection to
the source of being, truth, goodness and
beauty.
Javad Aminkhandagi, Volume 3, Issue 10 (4-2014)
Abstract
Farabi, “the Second Teacher” and the
founder of Islamic philosophy is one of
the most important philosophers in the
history of Islamic philosophy. Like other
Muslim philosophers and mystics, he has
no independent argument about aesthetic
concepts. In this research, one of the main
concepts of modern aesthetics, namely the
“aesthetic judgment”, is analyzed according Farabi’s perspective, and to achieving
this, some of the key concepts of Kant’s
aesthetics, as one of the turning points of
modern aesthetics, are used. In this paper,
concepts such as “second perfection”, in
the philosophy of Farabi, and “the ideal of
beauty” in Kant’s philosophy are evaluated
and then new explanation is introduced
of aesthetic judgment in Farabi. The results
show that for Farabi the canonical
art is that art which has some features,
and leads audience toward true happiness.
This canon corresponds to Kant’s definition
of ideal beauty, and is made clear
with combination of the aesthetic normal
idea and the rational idea in the philosophy
of Kant.
Saeed Hajrashidian, Ali Salmani, Volume 4, Issue 14 (5-2015)
Abstract
One of Kant’s basic concern in the critique
of judgment is teleology. Purpose as subject
of investigation in Aristotle and his followers
was completely put aside in the justification
of world by the modern philosophers such
as Descartes and Spinoza. Kant as the leader
of modern philosophy in the Critique of
Judgment again comes back to purpose and
purposiveness. He believes that teleology is
the principle of reflective faculty of judgment.
This paper concerns with this problem that
whether the concept of teleology, raised with metaphysical tint from the start, has any
connection with purpose and purposiveness in
the third moment or not? If this connection is
proved, what will its results be?
Mehdi Bahrami, Volume 4, Issue 14 (5-2015)
Abstract
The issue of metaphysics is one of the
important problems in philosophy and
especially in Islamic philosophy. Practically,
all of muslim philosophers pay more attention
to this aspect of philosophy which is also
very famous in the Middle East and ancient
philosophy. The metaphysics is a basis for
many theories in Islamic philosophy because
of Good’s pivotal place in this philosophy.
In fact, God, i.e epistemology of God, is an
important subject in Islamic philosophy and
the study of God and its issues have been
always regarded as a part of metaphysics in
Islamic philosophy. Farabi is one of Muslim
philosophers who is known as the Second
Teacher. He formulated his Islamic philosophy
on the basis of Aristotle’s philosophy. In this
paper, I want to study metaphysical theory of
Farabi and his theory of beauty and describe
the relationship between them by method
of philosophical analysis. Whereas Farabi
expresses intellectual beauty as something
that refers to intelligible world, it seems
that there are deep linking between beauty
and metaphysics. In addition, when God as
one part of metaphysics is regarded as the
beautiful existence in his theory of beauty,
how can we separate metaphysics and beauty
in philosophy of Farabi?
Mahdi Amini, Volume 4, Issue 15 (9-2015)
Abstract
This article questions the quality of the process of the perception of beauty and aesthetic pleasure to see what identity is derived from this concept. It is claimed on the philosophical foundations of Mullā Sadrā that the sensible perception of beauty, firstly and in particular is “intuitive knowledge” and that the aesthetic pleasure is produced from this “intuitive knowledge” and then the concept of beauty is derived from process of abstraction from external quality of object as secondary philosophical-intelligible.This issue is an essential part in Sadra’s Theosophy and can provide new perspectives different from those of western Aesthetics. On this basis, the author will proceed to study and explain the dimensions of this issue. The most important achievements of this research are: the explanation of the perception of beauty, the distinction between Aesthetic pleasure and corporal pleasure and also its relation to the concepts of good and perfection and in the end proving that the concept of beauty is a secondary philosophical-intelligible.
Farideh Afarin, Volume 5, Issue 19 (8-2016)
Abstract
Beauty has different types of definition in the history of aesthetics. Objective beauty stems from plato’s point of view. Kant and Nitzsche were pioneers in proposing subjective beauty and Heidegger`s definition of beauty as event is so fundamental in contemporary philosophy. French philosophers drew inspiration from Heidegger to provide new definition for beauty and it`s criterion. Levinas played an important role in breaking definition of beauty from ordinary world. He defined art and beauty in relation to ambiguity and exotisme. Contemporary artist, Orlan with her surgeries struggles the conventions of ideal beatuy. She also separates her way from stereotypes, images and cliches in video games, TV and magazins and criticises women for being object of men and artist`s gaze. Through her controversial performance/surgeries she transformes herself to a moving sculpture who has a strange face; for example, she implanted two prosthesis in two side of her forehead instead of cheekbones which seemed like horns. Thus, ideal and subjective beauty has converted to an strange and exotic event. This event is exterior to the circle of visual requirements of artistic systems and rules.
Abbas Ghorbani, Abolfazl Ghorbani, Volume 5, Issue 20 (11-2016)
Abstract
We see the universe and the objects beautiful; but some questions immediately involve our mind: »why the universe is beautiful?« and »why the human beings believe in existence of the beauty?« In this article we want to answer such questions by the descriptive - analytical method and with the emphasis on Sadraian ontology. As a result, the beauty is equivalent to existence and they are the same. Therefore, beauty as the existence is a gradation of Reality, and has various manifestations. The upmost degree of it, that is Absolute Beauty, for his perfection is essentially beautiful. Thus, universe as his effect or manifestation is beautiful too. By awareness of Absolute Beauty as the cause or the Lightening and by seeing ourselves and other beautiful things as its effect or manifestation, we believe in existence of beauty.
Mahdi Amini, Mohammad Fanaei Eshkevari, Abdollah Fathy, Volume 6, Issue 23 (9-2017)
Abstract
In this paper I would discuss that if providing an essential definition of beauty is impossible then why and how we may describe various types of possible
existences and God as beautiful. Drawing on the idea of “conceptual analysis” of Sheikh Ishraq and based on Mulla Sadra’s ontological views I would try to arrive at a different approach with which I will provide a general definition of beauty that includes both God and possible existences. Accordingly, while refuting the essential mode of beauty I would argue for an existential mode of it. I would further analyze and extract philosophical concepts from Mulla Sadra’s philosophical views to express the relation between being and beauty. I would conclude the paper by providing this definition of beauty: beauty,
if based on a particular understanding of existence as univocity, is “the realization of the perfect existence in the form,” and if based on the personal unity of existence, it is “the mode of manifestation of perfections of absolute existence in the form.”
Vahid Yadegari Srour, Shima Khodabandeloo, Volume 8, Issue 30 (5-2019)
Abstract
In this article, by examining the artistic beauty and explaining the elements of artistic beauty from the point of view of Allameh Tabatabai, one can provide
a correct explanation of the order of existence of artistic value. Using the rational-analytic method, we examine the theory of aesthetics from the perspective of Allameh in order to clarify Allameh’s objectivism in the philosophy of art. The role of the art supervisor in practical wisdom and Atebariat- theory of Allameh is important, and the artistic observer has a Hozory-dark of the realities of artistic phenomena. In the next step, he uses Hosoly-dark of artistic phenomena in the form of artistic values in artistic and aesthetic theories. And to understand artistic values correctly, we need to know the realities of art, as well as the particular kind of relationship that exists between reality and artistic value. So, without knowing the real art, understanding the aesthetics of Allameh Tabatabai is not possible. Finally by considering various philosophers’ explanation of the elements of beauty as well as the philosophical foundations of the Allameh, the place of Allameh’s artistic values in the philosophy of art will be determined.
Mehrangiz Basiri , Volume 9, Issue 35 (8-2020)
Abstract
Style As the conception of human underwent significant change during the renaissance era, the theory of human proportions gained great importance among the artists and art theorists of the time. The renaissance artists put considerable effort on finding and presenting an ideal model for human body proportions that could represent the newly founded status of the human being in their time. However, Leon Batista Alberti, among these artists and theorists, had sought a different objective. Contrary to what some art historians believe, he was critical of the break, which he thought that was caused by his contemporaries’ insistence on presenting an ideal image of the human body, from the natural human. Therefore, by using precise instruments and empirical methods besides his especial theoretical approach to nature, Alberti attempted to present a system of human proportions that would lead to a real, and at the same time ideal, portrayal of the human body. This paper aims to provide a complete picture of Alberti’s theory of nature and beauty by reviewing his written works and then explaining his practical methods and solutions to obtain body proportions according to his theoretical achievements.
Hasan Bolkhari, Volume 10, Issue 38 (6-2021)
Abstract
Relation between pleasure and Beauty is one of the most durable rations in Art philosophy and esthetic arguments. Philosophers’ Historical thoughts, from
Plato and Aristotle to Kant, Croce and Heidegger, are the solid reasoning in this claim. Muslim thinkers got some basics from Greek wisdom (Hikmat) in
translation movement, and by creative thoughts and critic mind and with being affected by Islamic teaching blew a new sprite to them. For example Khaji Nasir has called 8th article of Asas al-Ightibas “Assaertion” but relied on publicity and sermon in Quranic Verses there: (16: 125- 126); “call to the way of your Lord with wisdom and godly exhortation and have disputations with them in the best manner.”
In this article, pleasure and its relation with beauty and virtue (Hosn) is discussed, As we see, in this verse “goodly” (Hasana) is an adjective for exhortation, and “the best” (Ahsan) for disputations. This meaning beside scholarship discussion of Khaji Nasir about mimesis and imaginative creation, which mimesis is the basictheory in art philosophy, have been mentioned in deep arguments about aesthetic in Islamic civilization. There, he has presented an exact definition on pleasure, and then has explained it and its necessities, and the conditions and factors which affect in creating it (like imagination and ambiguity (fancy) and …).
He mentioned the role of pleasure in creating beauty sense not only in chapter 8 but also in 9th chapter in explaining imaginative creation and mimesis and perception of human Aesthetics. He emphasizes that people have vast tent to mimesis and imagination because of nature pleasure of mimesis. Then he mentions that poem makes aesthetical perception of human which causes pleasure and wonder of sprit (Nafs). This article will discuss the relation between pleasure and beauty which is the basically discussion in Art philosophy and Aesthetics in Khaji Nasir’s view.
Behzad Abdaltajdini, Habibollah Abasi, Hasan Bolkhari Ghahi, Daryosh Pirnakan, Volume 11, Issue 42 (5-2022)
Abstract
The subject of this article is how to think beautifully; For the researcher, the characteristics of the confrontation and curiosity of the greats of art, the philosophy of art, and the revelatory mystics of beauty are a matter. The purpose of research is to think of beauty from an intertionl perspective in order to better understand the concept of beauty. Descriptively and analytically with the approach of phenomenologists such as Husserl, we have explored the specific passages of the subject and the object and found that intentionality is an important existential possibility in the way of thinking about an inventive subject. Due to the concrete and abstract unity of beauty, its artistic, philosophical, mystical and revelatory features must be disjointed and reconnected in order to see the focal subject. As a result of the thought of beauty, there is an aesthetic passivity of the passion of the observer soul, which is the negation of intentionality as the negation of the ability of the mind from thought to beauty. In general, due to the prestige of the rain of beauty on the one hand, and the various motifs of the experience of beauty on the other, the possibility of understanding the concept of beauty is inconceivable.
Mina Mohammadi Vakil, Volume 11, Issue 45 (3-2023)
Abstract
The position of the artist in different periods of history has undergone fundamental changes due to the difference in the concept of art and the relationship between art and wisdom: From the creative idea of creation, which placed the creator in the position of the first artist, to the era of the rule of the philosophy of religion or theology, in which the artist, as a craftsman, was merely the executor of superior ideas and goals, and lacked any special social or post-credit. With the emergence of the Renaissance, artist-scientists emerged who created a new situation by emphasizing the superiority of human ideas, which finally brought a new definition of the artist-philosopher to the scene in the 20th century with the emergence of conceptual art. But with the decline of modern thought and the establishment of its critical systems, the bell of the end and death of many concepts tolled. The present research, which was carried out with the descriptive-analytical method and with the aim of clarifying the relationship between the idea and artistic performance and the social status of the artist in history, especially in the late period of Iran, will show that at the beginning of the history of the artist as a creator, the basis of the mythological stories of creation had a special capability and activity in the matter of creation; that is to say that the artist and his art was interpreted in relation to the creationist matter, while in the later periods, the idea of art leaves behind the monopoly of the artist’s mind and personal perception. Here, art is committed to the thought and belief of its supporters; although this gives the work of art respect and importance, it lowers the status of the artist to the status of an anonymous craftsman. In the age of wisdom, once again, the artist, with her commitment to creating a work of art based on individual thought, succeeds in gaining a special position in the social arena.
Maryam Bakhtiarian, Volume 11, Issue 45 (3-2023)
Abstract
Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with nature and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of nature documentary films.
Mohsen Sarebannejad, Nader Shayganfar, Volume 12, Issue 47 (9-2023)
Abstract
David Hume's reflections on aesthetics and the standard of taste, as well as George Dickie's philosophy of art presented in the form of the “Institutional Theory of Art”, are both based on a social and sociological origin. According to Hume, the standard of correctness of aesthetic judgments is the joint verdict of true judges, which is true and correct in all circumstances due to the lack of defects in the faculty of taste. The institutional theory of art was presented in the middle of the 20th century, focusing on the necessity of redefining the boundary between art and non-art. A theory according to which, granting the dignity of art to an artificial object is done by a person or persons who act on behalf of the artworld as a social institution, and their judgment in granting dignity to an artificial object, in order to evaluate or honor it as a work of art compared to other opinions, is generally accepted and has authority due to its continuous connection with the artworld and delicacy. As a result, the main question of the research is to explore the importance of consensus on issuing aesthetic judgments and valuing works of art on the one hand, and explaining the distinction between art and non-art on the other hand, according to “true judges” and “qualified” people. This research, which was carried out using the comparative method and its data was collected in a library manner, first studies the concept of judgment of taste and then evaluates the relationship between Hume's aesthetics and the institutional theory of art.
Somayeh Ramezanmahi, Volume 14, Issue 54 (7-2025)
Abstract
During the flourishing of the Enlightenment, Kant attributed to beauty an identity distinct from morality and reason, elaborating on its various dimensions. In the Critique of Judgment, by examining judgments of taste, Kant delineates the boundary between the beautiful and the sublime and elucidates their independent role in attaining universal cognition. However, he remains silent on the concept of ugliness. Given that the embodiment of ugliness occupies a significant portion of artistic works, this article seeks to critique and analyze the role of ugliness in achieving universal cognition within Kantian aesthetics, as interpreted by his commentators. Employing a qualitative, descriptive-analytical methodology and drawing on library and documentary sources, this study addresses the following question: What is the relationship between ugliness and universal cognition from a Kantian perspective?
The findings indicate that while there are two divergent interpretations among Kantian commentators, the conceptualization of ugliness can be grounded in a more profound negation. Accordingly, negative judgments of taste belong to the category of reflective aesthetic judgments and can be analyzed through the fourfold structure of judgments of taste as follows: Quality: Displeasure devoid of interest (interesselose Unlust), Quantity: Equivalent to universal validity, Relation: Counter-purposiveness (Zweckwidrigkeit) without a purpose, Modality: Necessarily displeasing. Thus, ugliness embodies a negative purposiveness that generates a discordant free play between the faculties of imagination and understanding. Although more complex, this dissonance may ultimately aspire to harmony.
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