Aesthetics

Beauty is present everywhere in nature.

Aesthetics is the study of sensory-emotional qualities-religions and values. The artistic, artistic, and nature-encoding itself is aesthetics. Aesthetics is a part of philosophy. It is also called Saundaryammansa Tatha Anandamimansa.

Beautyistry is a scripture in which the artistic creations, compositions, etc. that are being expressed, or inherent in them, are elemental, philosophical and poignant explanations. It is the main purpose of considering the beautiful nature of our mind and our understanding of the nature and nature of our senses, and coordinating it with other realities of life.

introduction

Aesthetics is a branch of philosophy under which questions related to art, literature and beauty are discussed. In the Greek language, the word 'aestetico' is derived from the meaning of 'the aesthetics', which is derived from the senses of knowledge different from the realm of knowledge. A classical aesthetic approach developed related to nature, art and literature. This view only keeps the political and contextual dimensions beyond the scope of the discussion, keeping its concern only with the beauty and art form of the masterpiece. But there are some methods of art and literature explanations that communicate with the meaning of creations and the social and historical aspects of their composition. Marxist aesthetics is such a deliberation.

In the ancient Greek philosophy, the concept of beauty in the Hippias Major, composed of Plato, is discussed. Aristotle's work in Poetics on the sad story of drama has influenced art critique for a long time. In the context of non-Western ancient contemporary art and beauty, the theatrical and detailed discussions presented by Leo-Tai Ming-Hua Chi (Record of Famous Paintings), composition of India's theatrical, Abhinavagupta's rasa-theory and Chinese scholar Cheng Yin-Yuan The iron is also considered in the western world. Non-Western standards of interpretation of this tradition of art-culture have not yet been made and the results of interpretations made by Western standards have turned out to be unsatisfactory. Sun temple of Konark

As a philosophical activity in Western thought, a different concept of aesthetics emerged in the eighteenth century when the art of creation began to be followed by separating from the crafts. Its result came out in the formulation of the concept of fine arts by theorists. Alexander Gottlieb Bowmarten wrote an argument in 1750 by writing anesthetics. Seven years later, the question of emerging discussion of aesthetics was questioned by David Hume by writing 'Off the Standard of Test'. But the real beginnings of modern European aesthetic discussions came from the creation of Emanuel Kant's "Critique of Judgment" in 1790. In this work, Kant insisted on making the parameters of aesthetic assessment to be universal. But on the other hand, they also appeared to suspect the possibility of universal aesthetics. Despite this contradiction, Kant's achievement was that he established some compulsory bifurcation for the interpretation of art and beauty. The most notable of these bifurcations are: Indrababodh and logic-wisdom, essence and form, expression and expression, joy and posterity, freedom and the need etc. Kant's second accomplishment was that he set the distinction between aesthetic experience and sensual experience. He had argued that the aesthetic interpretation and the object of its analysis should be done without any practical attachment to the goal of analysis.

About the nineteenth century it can be said that it was a century of aesthetics. Later, German scholars set up a greater philosophical framework of aesthetics on the made land of Kant. In Hegeel's composition Lectures on Aesthetics, Shawpenhor had detailed interpretations of various aspects of Western aesthetics in The World as Will and Representation and in Nietzsche's Birth of Tragedy and published its new dimensions. In the last round of the nineteenth century, there was a rise in formulas in English-language aesthetics. Victorian Britain gave a slogan 'Art for Art', whose names in the name of Oscar Wilde are remarkable. The rationalist approach that emphasizes the purely aesthetic experience has deeply influenced modern art forms in almost all areas. But the sounds of resistance to this movement are what is done by the great Russian writer Leo Tolstoy? And John Davey's keynote speaker, Art of Experiences, was heard in American Expressionism. Tolstoy argued that the art which can not communicate the moral realities among humans, according to the rationalist calculations, how great it is that can not be appreciated. Dwi also opposed the art being cut from the structures of the experience outside its scope, in the name of aesthetics by taking the iron from the rationale on the question of the role of communication.

The German tradition of aesthetic thought continues in the twentieth century. The principles of aesthetics were further enriched by using the tools of phenomena, herbalism and Marxism. In 1936, Martin Hydiger wrote essay like "The Origin of the Work of Art", which is considered one of the best works of art philosophy. Hydiger claimed in this essay that viewing the art as an object in this world is one of the fundamental symbolic errors of modernity. According to Hydiger, art opens the door of a new world, truth does not decrease in the form of art itself, but it also opens the existence of objects in the realm of our own experience. Thus, through the aesthetics, Hydiger criticized modernity and took away the traditional existence of objects-the theory of metaphysical and technological interpretation.

By the middle of the twentieth century, questions about the usefulness of aesthetics began to arise. In some of his lectures given at the beginning of the century, Edward Bullo had asked the question that somewhere, the definitions of art and beauty are not decaying the artist's creative ability. This lecture was published in 1957 and in the sixties, American artist Barnett Newman announced that the use of aesthetics is the same for art, which is for birds of avocados. That is, it is good to know the anesthetists of aesthetics. Under the study of culture, the elitist trends of aesthetics have been examined very hard. Pierre Bordeo not only identified the ideological basis of art under the sociology of culture but also said that due to this reason the aesthetics have not been able to consolidate its own cultural and political roots. This idea of ​​the idea of ​​Bordeo gets found in the theoretical theory of Adorno. Adorno gives an example of the art of the twentieth century, and says that art still has the ability to counter ideology. According to Adorno, art is the product of its own society, but in its composition - autonomous moments from social determinism also varies. That is why he also gives the artist and his audience or readers an opportunity to think beyond the dominant culture given by the dominant culture. Some Marxist scholars have also tried to develop a Marxist class of aesthetics. Seeing this kind of criticism from the main Marxist materialist of Hindi, Namwar Singh, its first example is considered the science-building of 'socialist realism' in the Soviet Union. He has said, "As the scriptures become socially also formulated, and the style of expressing that reality is also. Seeing a new ritualism was seen, in composition, in criticism too. The country which made a socialist revolution, was frustrated by any revolution in the field of literature and art. Such and such insult of reality was not even in the earlier literature of revolution and not even in European literature of nineteenth century when the Burjwa Revolution gave birth to realism. The condition became very much a tradition of being called 'ritual' of Hindi, when poetry was being written by putting the texts in front of the characters of Alankaran. '

Namwar Singh has given the second example a great treatise by authored authored by George Lucach. They call it Lucach, a great effort to finally wrap up nearly 60 years of long literature-contemplation into a systematic scripture, "This huge treatise of thousands of pages is available in the German language, and which German knows well, He will be able to say something faithfully about it. On the basis of what has been said about it in English and its sporadic parts, it can only be said that it has been made unsuccessful to exploit all the arts in 'simulation'. Thus, Marxist Lukacht, when all the arts are tied in a scripture, then finally Aristotle is bound to surrender. An English weekly had a cartoon print with a review of this treatise, with the beard of Lucach Marks, in the appearance and appearance of Aristotle. "Namwar Singh is of the opinion that by the illustration of Luke, A weak aspect of the long tradition is revealed. He says that 'he often missed himself challenging an institution called' Art 'and he did not see any harm in accepting the classical definition of art. After accepting these definitions once in basic form, then with the slightest manipulation, the work of evaluating this poet or work remains the same; And it is not necessary to say that Marxist aesthetists have shown their talent in this field - having competed with big-minded thinkers of higher culture. The language of interpretation and evaluation is certainly materialistic and historical, but overall it is not very different from the dominant tradition. '

1. DE Cooper (1992), A Companion to Aesthetics, Blackwell, Oxford, 1992

2. Terry Eagleton (1999), The Ideology of the Aesthetic, Blackwell, Oxford, 1999

3. Immanuel Kant (1790/1987), The Critique of Judgment, Anu, W. S. Plummer, Hackett, Indianapolis, IN.

4. T.W. Adorno (1984), Aesthetic Thierry, Routledge and Keegan Paul, New York.

5. Namver Singh (2013), 'The direction of development of Marxist aesthetics', available at WWWHindian.com. Also see them

wiki