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Flowchart

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Frednixen Gapoy
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Ancient Greek Philosophers

 Plato-Plato’s most prominent contribution to aesthetics is his notion of mimesis


(imitation). Mimesis derives from the idea that beautiful things are mere replicas of
Beauty itself, but are still somehow deficient or incomplete.

 Aristotle - Aristotle thought the form of the object was constituted by the essential
properties inherent in the object. Aristotle also considered the notion of imitation.
Aristotle’s notion of mimesis is similar to that of Plato, since they both claim that art
imitates nature. However, Aristotle does not think that nature imitates the realm of
the Forms. Aristotle believes that imitation is natural. Lastly, Aristotle emphasized
some salient characteristics that art requires in order to be considered good. Size is
important to him because something extreme in magnitude is beyond one’s capacity
to perceive the whole.

 Plotinus - Plotinus pointed out that beauty mainly applies to the sense of sight and
hearing. this notion is not only a contribution to a theory of beauty, but it placed the
two senses in a pedestal as having primacy over the others for the acquisition of
knowledge. Second, Plotinus rallied against the notion that proportion is the primary
component of beauty. He argued that simple things could not be beautiful, if
symmetry was the only component of beauty.Also, Plotinus believes that if
something is beautiful, it must be composed of beautiful parts. If the parts are not
symmetrical in themselves, then they could not be beautiful.

Christian and Medieval Philosophers

 Augustine – Augustine of Hippo made a clear distinction between the creation of


God (ex nihilo) and the creation of artists (ex materia).

 God created matter, which was initially formless, “without any beauty”. He believes in
the hierarchy of beauty, and earth occupies the lowest form of beauty. things
become more beautiful as they possess more form, and less of the void. God is
supremely beautiful, since only God possesses perfect form.

 This idea of rhythm is expounded in Augustine’s De Musica. For Augustine, rhythm


is absolute and eternal because its source is God. Rhythm is already determined in
God, and human beings cannot invent it.

 Pseudo-Dionysius - His main work that has relevance for aesthetics is The Divine
Names, in which he refers to God as Beautiful. Pseudo-Dionysius’ claims that
beauty is the cause of any beautiful thing that exists; and, second, the beautiful and
the good are the same. Since beauty is the source of all things that exist, everything
has a degree of beauty. Accordingly, everything has a desire and drive to move back
toward the Beautiful and Good, that is, the source of the beauty of everything. This
cycle is evident throughout Pseudo-Dionysius’ thought and illustrates Plotinus’
influence.

 Thomas Aquinas -

 Aquinas’ definition of beauty is as follows: beauty is that which gives pleasure when seen.

 Knowing beauty is not the result of a communication process, nevertheless it is an activity


of the mind. Knowledge in general, for Aquinas, occurs when the form of an object, without
its matter, exists in the mind of the knower. The mind is responsible for recognizing the
beauty of a given object.

 More specifically, the senses of sight and hearing are those through which the beholder
receives the form of the object. For Aquinas, these senses are the most important ones for
cognition; therefore, they are the ones employed in perceiving the beautiful.

 For Aquinas, beauty has four primary standards: actuality, proportion,


radiance, and  integrity.
The Age of Reason

 David Hume- Hume argues that the important thing about art is its ‘agreeableness’,
the pleasure we derive from it, and that this is a matter of our sentiments, not its
intrinsic nature. “Judgements” about good and bad in art, according to Hume, are not
really judgements at all ‘because sentiment has a reference to nothing beyond itself,
and is always real, wherever a man is conscious of it. For Hume, aesthetic
preferences are expressions of the taste of the observer, not statements about the
object; and the wide diversity of opinions about art that we find in the world is
confirmation of this fact.

 Immanuel Kant- Kant draws a sharp distinction between feeling and reason, and
with it, experience of pleasure cannot be rational or irrational. In 1790, he
published The Critique of Judgement, where he placed aesthetic judgement between
the logically necessary and the purely subjective.

As with a judgement about fact or necessity, the “beholder” can believe he finds something
beautiful not just because of personal preference, but also others find it beautiful as well.
Hence, beauty is subjective, but it is not merely personal.

Kant postulates a sensus communis (or ‘common sensitive nature’) among humans that is
invoked and appealed to when a judgement of taste is made).

Contemporary Philosophical Views of Art

Based on G. Collingwood’s Principles of Art, the value of art lies in its ability to
entertain us. But if we are honest most of us will admit that the entertainment value of
high art is quite low compared to other amusements. He draws our attention to a belief
that if art can be relied upon to amuse, this would not give us any special reason to value
or pursue it.

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