The Lord of the Heart: Abhinavagupta's Aesthetics and Kashmir Śaivism

2008 ◽  
Vol 12 (1) ◽  
pp. 214-229 ◽  
Author(s):  
Bettina Bäumer
Keyword(s):  
Aesthetic Theory ◽  
Work Of Art ◽  
World Picture ◽  
The Arts ◽  
The World ◽  
Indian Aesthetics ◽  
World Drama ◽  
Kashmir Śaivism

AbstractIndian aesthetics owes much to the genius of Abhinavagupta (fl. c. 950–1025), whose aesthetic theory combined elements of Tantric exegesis, philosophy, poetics, musicology, and mysticism. His aesthetics is also based on the cosmology of the Śaivagamas, as shown in the benedictory verses to his commentary on the Nātyaśāstra, Abhinava Bhāratī, where he invokes Śiva in the form of the cosmic and human elements (tattva). Abhinavagupta also uses the similes of the world drama and world picture to show the interconnectedness of theology and the arts, since Śiva is the Divine artist. Moreover, the doctrine that "everything is connected with everything else" provides a basis for an understanding of art in which even a fragment can reflect the beauty of the whole. Aesthetics also assumes the freedom of the artist to create, as well as the joy that emanates from a work of art—a joy directly connected with spiritual bliss.

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

scholarly journals Estetiche della percezione

2007 ◽  
Keyword(s):  
Work Of Art ◽  
Symbolic Form ◽  
The Third ◽  
The Arts ◽  
The World ◽  
Lively Debate ◽  
The Mind ◽  
Contemporary Artists

This book is a continuation of the lively debate launched in Dall'oggetto estetico all'oggetto artistico which the same editors published with Firenze University Press. The argument of the book is the organic link connecting the two thematic axes that define the ambit of aesthetics: the theory of perception and reflection on the arts. The apparent tautology of the title is intended to stress how the interpenetration of perception and work of art is structural and organic, thus calling up the theoretical urgency of this problem for an effective understanding of the dynamics of the sense of art as a "symbolic form" in which the relation between the mind and the world is embodied in an exemplary manner. The book is divided into three sections. The first presents nuclei of reflection emerging from unconventional contemporary perspectives. The second addresses various angles of the theory of perception. Finally, the third part explores several cases in which contemporary artists have tackled the link between expressive practice and the articulation of perception.

Constitutional Law as a Work of Art - Experts’ Eyes: Judges of the World examine the Constitution of Europe

2003 ◽  
Vol 4 (8) ◽  
pp. 859-862 ◽  
Author(s):  
Alexandra Kemmerer
Keyword(s):  
Constitutional Law ◽  
Work Of Art ◽  
The Arts ◽  
Single Room ◽  
The World ◽  
Art Experts

“To be honest,” remarked Lord Scott with dry humor when we left Villa La Pietra, -“to be honest, I passed no single room where I would simply feel comfortable after a long day's labors.” However, the British Lord of Appeal in Ordinary thinks highly of the arts, certainly no less than his colleagues from Washington, Paris, Rome, Karlsruhe and Luxemburg with whom he explored the collections at La Pietra on this midsummer afternoon. But the wealth and variety of the artworks assembled during the course of the last century by English eccentrics and their assemblage according to fairly personal esthetic criteria relieve the visitor barely for a moment of concentrated observation, requiring permanent attention – and considerate behavior in the midst of irreplaceable treasures.

What Makes Art Art?

1975 ◽  
Vol 7 (1) ◽  
pp. 10-12
Author(s):  
Mary H. Kaprelian
Keyword(s):  
Social Context ◽  
Cross Section ◽  
Aesthetic Theory ◽  
Work Of Art ◽  
Art Form ◽  
The Social ◽  
The World ◽  
The Many ◽  
Definition Of

Those of us in the field of dance may encounter difficulties discussing the many facets of dance among ourselves, but most of us take for granted that dance can be an art form. Currently, however, there are many approaches to dance including chance choreography, the dance happening, non-dance, and minimal dance which are in radical contrast to what has generally been accepted as the art of dance. It is reasonable to raise questions about how the new dance forms fit into the established scheme of things. It is reasonable to also raise questions about the defining properties of art in general. The purpose of this paper is to point out very briefly, some of the thoughts of respected aestheticians on the concept of art. An examination of pertinent aesthetic theory will indicate there can be no simple answer to the question, “What is art?”. There is no one theory of the artistic which offers a comprehensive explanation. A cross section of references chosen for their readability, accessibility, and relatedness bears this out. Although there are no articles devoted specifically to dance, one can sift through the material and find what pertains not only to art in general, but also to dance.Because the world of art is always changing, the phrase, “work of art,” is bound to be used in varying ways. Paul Ziff has pointed out the difficulties in arriving at a definition of art. Disputes occur simply because of what critics mean when they refer to something as being a work of art. Ziff maintains that these disputes must always be examined in the social context in which they occur.

REFLECTING THE TIME COORDINATE OF THE DIALECT LANGUAGE WORLD PICTURE IN V. I. BELOV’S WORKS AND THE POSSIBILITY OF ITS REPRESENTATION IN TRANSLATIONS INTO GERMAN

2020 ◽  
Vol 6 (99) ◽  
pp. 106-116
Author(s):  
ELENA N. ILYINA ◽  
NATALYA L. FISHER
Keyword(s):  
Work Of Art ◽  
Time Coordinate ◽  
World Picture ◽  
The World ◽  
Additional Comment ◽  
Text Information ◽  
The Common

This article examines the problem of reconstructing the dialectical language picture of the world by means of another language when translating a literature work of art. Particular attention is paid to the analysis related to the formation of the temporal coordinates of the artistic chronotope, which in Vasily Belov's prose contains both grammatical and lexical dialectical units. Analyzing Belov's translations into German, it is concluded that in the translation text, the dialect elements of the temporal component are leveled to the common colloquial ones and need additional comment by means of extra-text information.

scholarly journals SESTINA DALAM SUDUT PANDANG ESTETIKA MONROE. C. BERDSLEY

2019 ◽  
Vol 1 (1) ◽  
pp. 37
Author(s):  
I Wayan M. Dhamma Narayanasandhy
Keyword(s):  
Literary Work ◽  
Elizabeth Bishop ◽  
Aesthetic Theory ◽  
Work Of Art ◽  
Literary Works ◽  
The World ◽  
The Creation ◽  
The Aesthetic

Setiap karya musik yang dinyanyikan, biasanya memiliki sebuah lirik yang ikut andil di dalamnya. Kebanyakan, penciptaan sebuah lirik terinspirasi dari sebuah puisi. Banyak sekali jenis-jenis puisi di dunia, salah satunya adalah puisi Sestina. Puisi sestina adalah salah satu puisi kuno yang tidak memiliki unsur rima tetapi memiliki algoritma repetisi yang disebut circular of sestina. Dalam sebuah karya seni, selalu memiliki suatu estetika yang terkandung di dalamnya. Dengan meninjau lebih dalam tentang estetika, penelitian ini berfokus pada teori estetika yang dikemukakan oleh Monroe C. Berdsley. Tujuan penelitian ini adalah untuk mengetahui jenis karya sastra sestina dalam sudut pandang teori estetika dari Monroe C. Berdsley. Penelitian ini bersifat deskriptif dengan sebuah pendekatan yang menjurus pada studi kepustakaan. Hasil dari penelitian ini adalah menjelaskan tentang ketiga unsur penting teori estetika Monroe yaitu Intensity, Complexity, dan Unity yang terdapat dalam suatu karya sastra sestina dengan menggunakan contoh karya puisi “Sestina” yang diciptakan oleh Elizabeth BishopEvery piece of music that is sung, usually has a lyrics that contributes to it. Mostly, the creation of a lyrics is inspired by a poem. There are so many types of poetry in the world, one of which is Sestina's poetry. Sestina poetry is one of the ancient poems that has no rhyme element but has a repetition algorithm called the circular of sestina. In a work of art, always has an aesthetic contained in it. With a deeper review of aesthetics, this study focuses on the aesthetic theory proposed by Monroe C. Berdsley. The purpose of this study was to find out the types of Sestina's literary works in Monroe C. Berdsley's aesthetic theory. This research is descriptive with an approach that leads to the study of literature. The results of this study are to explain the three important elements of Monroe aesthetic theory, namely Intensity, Complexity, and Unity contained in a sestina literary work using the example of the poem "Sestina" created by Elizabeth Bishop

Book Review

2016 ◽  
Vol 6 (2) ◽  
pp. 386-389
Author(s):  
Eduardo Oliveira
Keyword(s):  
Urban Planning ◽  
Urban Design ◽  
Olympic Games ◽  
City Image ◽  
European Capital Of Culture ◽  
The Arts ◽  
The World ◽  
The City ◽  
The Olympic Games

Evinç Doğan (2016). Image of Istanbul, Impact of ECoC 2010 on The City Image. London: Transnational Press London. [222 pp, RRP: £18.75, ISBN: 978-1-910781-22-7]The idea of discovering or creating a form of uniqueness to differentiate a place from others is clearly attractive. In this regard, and in line with Ashworth (2009), three urban planning instruments are widely used throughout the world as a means of boosting a city’s image: (i) personality association - where places associate themselves with a named individual from history, literature, the arts, politics, entertainment, sport or even mythology; (ii) the visual qualities of buildings and urban design, which include flagship building, signature urban design and even signature districts and (iii) event hallmarking - where places organize events, usually cultural (e.g., European Capital of Culture, henceforth referred to as ECoC) or sporting (e.g., the Olympic Games), in order to obtain worldwide recognition. 

Editorial

2017 ◽  
pp. 2-3
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
New Technologies ◽  
Editorial Team ◽  
Local Market ◽  
Design History ◽  
Recorded Sound ◽  
The Arts ◽  
The World ◽  
1960S And 1970S ◽  
New Zealanders

Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

The Music Therapist: Creative Arts Therapist and Contemporary Shaman

2016 ◽  
Vol 2 ◽  
Author(s):  
Joseph Moreno
Keyword(s):  
Native American ◽  
Creative Arts ◽  
Indian Culture ◽  
Music Therapist ◽  
Psychotherapy Practice ◽  
The Arts ◽  
Contemporary Psychotherapy ◽  
The World ◽  
Traditional Healing Practices

While much of contemporary psychotherapy practice often focuses primarily on verbal exchange between therapists and clients, it is important to recognize that verbal expression is just one mode of expression, and not necessarily the deepest or most profound. Many clients in therapy may be more comfortable in expressing themselves in other ways through the modes of music, art, dance and psychodrama. The sources of the arts in healing extend back for many thousands of years and their modern expression through the creative arts therapies are now widely utilized in the mainstream of modern psychotherapy. Traditional healing practices are still widely practiced in many indigenous cultures around the world today and an appreciation of these practices can deeply enrich our understanding of the essential role of the arts in human expression. The aim of this paper is to consider the roots of the arts therapies and really all of psychotherapy, going as far back as pre-historic evidence, followed by an overview of living indigenous healing practices in such settings as Bushman culture in Namibia, Native American Indian culture, as well as in Kenya, Bali, Malaysia, Mongolia and more.

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