aesthetics

aesthetics , the branch of philosophy that is concerned with the nature of art and the criteria of artistic judgment. The classical conception of art as the imitation of nature was formulated by Plato and developed by Aristotle in his Poetics, while modern thinkers such as Immanuel Kant, F. W. Schelling, Benedetto Croce, and Ernst Cassirer have emphasized the creative and symbolic aspects of art. The major problem in aesthetics concerns the nature of the beautiful. Generally speaking there are two basic approaches to the problem of beauty—the objective, which asserts that beauty inheres in the object and that judgments concerning it may have objective validity, and the subjective, which tends to identify the beautiful with that which pleases the observer. Outstanding defenders of the objective position were Plato, Aristotle, and G. E. Lessing, and of the subjective position, Edmund Burke and David Hume. In his Critique of Judgment, Kant mediated between the two tendencies by showing that aesthetic judgment has universal validity despite its subjective nature. Among the modern philosophers interested in aesthetics, the most important are Croce, R. G. Collingwood, Cassirer, and John Dewey.

Bibliography: See K. E. Gilbert and H. Kuhn, A History of Esthetics (rev. ed. 1953, repr. 1972); M. C. Beardsley, Aesthetics from Classical Greece to the Present (1965); H. Osborne, Aesthetics and Art Theory (1970); G. Dickie, Aesthetics: An Introduction (1971); A. C. Danto, The Philosophical Disenfranchisement of Art (1986); D. Sumner, The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics (1987).

aesthetics is the branch of philosophy which deals with the nature of art and of artistic judgment. Some of the central questions of aesthetics focus on the beautiful: under what circumstances it may be said to exist, what criteria are to be used to judge the beautiful, and whether or not these criteria apply equally to literature and music.

There are two traditional views concerning what constitutes aesthetic values. The first finds beauty to be objective, that is, inherent in the entity itself. The second position holds that beauty is subjective, in that it depends on the attitude of the observer. Immanuel Kant argued that judgments of taste, as he called aesthetic judgments, rest on feelings, which, though subjective, have universal validity. The instrumental theory of value, an extension of subjectivism, holds that the value of art consists in its capacity to produce an aesthetic experience.

Kristen L. Zacharias