July 15, 2017

Download Art and Enlightenment: Scottish Aesthetics in the 18th by Jonathan Friday PDF

By Jonathan Friday

This quantity brings jointly and offers contextual introductions to the main major 18th century writing on philosophy of artwork. From the pioneering learn through Francis Hutcheson, via Hume's seminal essays at the typical of style and tragedy, to the top of the culture in Dugald Stewart, we're swept up within the debate approximately paintings and its price that involved the philosophers of enlightenment Scotland - and keeps to take action today.

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Extra info for Art and Enlightenment: Scottish Aesthetics in the 18th Century

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When indeed the number of sides is much increased, the proportion of them to the radius, or diameter of the figure, or of the circle to which regular polygons have an obvious relation, is so much lost to our observation, that the beauty does not always increase with the number of sides, and the want of parallelism in the sides of heptagons, and other figures of odd numbers, may also diminish their beauty. So in solids, the icosahedron surpasses the dodecahedron, and this the octahedron, which is still more beautiful than the cube, and this again surpasses the regular pyramid.

Custom may make us quicker in apprehending the truth of complex theorems, but we all find the pleasure or beauty of theorems as strong at first as ever. Custom makes us more capable of retaining and comparing complex ideas, so as to discern more complicated uniformity which escapes the observation of novices in any art; but all this presupposes a natural sense of beauty in uniformity. For had there been nothing in forms which constituted the necessary occasion of pleasure to our senses, no repetition of indifferent ideas as to pleasure or pain, beauty or deformity, could ever have made them grow pleasing or displeasing.

The like reason may influence artists in many other instances to depart from the rules of original beauty as above laid down. And yet this is no argument against our sense of beauty being founded, as was above explained, on uniformity amidst variety, but only evidence that our sense of beauty of the original kind may be varied and overbalanced by another kind of beauty. VII. This beauty arising from correspondence to intention would open to curious observers a new scene of beauty in the works of nature, by considering how the mechanism of the various parts known to us seems adapted to the perfection of that part, and yet in subordination to the good of some system or whole.

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