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page055from Building IdeasThe beauty of bodies does not consist in the shadow of materiality, but in the clarity and gracefulness of form, not in the hidden bulk, but in a kind of luminous harmony, not in an inert and stupid weight, but in a fitting number and measure. Light, gracefulness, proportion, number and measure, which we apprehend by thought, vision and hearing.6
The architects of the Renaissance tried to demonstrate these principles in the many depictions of the famous “Vitruvian” figure. With arms extended in a “crucified” posture the body would usually be shown inside a circle and a square. Leonardo da Vinci produced perhaps the most memorable version, although Cesariano and Francesco di Giogio both used a similar illus... more ...
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page054from Building IdeasThis notion of the artist having access to divine harmony became a powerful notion for later thinking in aesthetics. Besides the question of the status of art as a “unique” form of knowledge – the issue of whether philosophy could ever replace aesthetic experience – it is here also where the later debate between the Classical and the Romantic has its roots, in the arguments over the role of the artist. In the Classical tradition the artist is constrained by historical precedent, which acts as a repository of the timeless ideals forms. Romanticism, on the other hand, holds the creative individual to be supreme, with the artist as a “genius” inventing freely from within. Of course, within both traditions art many still be seen as subservient to rationality, and it is this question which form... more ...
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page053from Building Ideassenses and the empirical philosophies of Locke, Berkeley and Hume. Before approaching this debate and its consequences for aesthetics, another figure must be considered as an early contributor to this field.
The Roman philosopher Plotinus, who lived in the third century AD, managed to resolve some the contradictions between the two philosophies set out above. In developing a complete system from Plato’s fragmented dialogues, he produced an influential aesthetic theory as a component of his neo-Platonism. Beginning with Plato’s divine creator as the ultimate source of truth and beauty, Plotinus set up a hierarchical system to explain the relationship between different levels of being. These levels are described as emanatio... more ...
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page052from Building IdeasPoetics he set out a lot of practical advice, covering the construction of plots and dramatic characters for the theatre. Throughout he is concerned with this potential to educate an audience through the actions of the performers dealing with moral dilemmas. The experience of catharsis – the emotional release of shared experience – is described as a major effect of tragic drama in the theatre. It is this ability of the audience to empathise with the characters’ emotions that becomes the standard for all art, whether musical or visual. This notion that art offers a heightening of experience became a powerful force in later thinking on aesthetics. As Aristotle writes in the The Poetics, it allows an approach to the universal beyond that provided by the “imperfect” individual:
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