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212:. That medieval philosophies of beauty are implicit rather than explicit is in part due to the fact that the broader philosophical mentality of the period was highly traditional and that 'innovation came without fanfare'. For Eco, his historical approach is evident in his belief that aesthetics must be viewed as 'the ways in which a given epoch solved for itself aesthetic problems as they presented themselves at the time to the sensibilities and culture of its people'.
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472:, embodied these assumptions as it used mathematics to explore harmony as a condition of beauty, such as in his belief that the numbers 1,2,3 and 4 were the source of musical principles. According to Umberto Eco, Medieval conceptions of beauty were based on the earlier Classical attempt to link mathematics with beauty: ' many variations are reducible to the one fundamental principle of
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409:. He asserted that all things have beauty because everything originates in the Cause and that this means nothing can lose its beauty. For Pseudo-Dionysius there exists an Absolute Beauty from which all material beauty is derived through 'emanation'. This results in the earthly encounter with beauty that is divine, even though it may appear imperfect. Such a conception, according to
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A systematic aesthetics of light began to appear in the thirteenth century. Light was believed to endow physical objects with nobility and beauty because it 'constitut the essence of colour and at the same the external condition of its visibility,' according to Edgar De Bruyne. The medieval concern
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As outlined by
Tatartkiewicz, architecture was heavily founded upon notions of symbolism based on numbers with 'five doors symboli the five wise virgins, and twelve columns the twelve apostles. Pulpits were supported by eleven columns, symbolising the eleven apostles who were present at the Descent
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Light was considered to be intrinsically connected to heat, which was reflected in the belief that male beauty comprised a 'fresh and rosy, halfway between pale and flushed' complexion, which was influenced by the soul's warming of the blood because the soul had properties of light. De Bruyne also
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during the Middle Ages as a way of comprehending the purpose of existence and therefore, it is key to understanding the medieval paradigm. Aesthetics were underlaid by theological and philosophical principles because the base assumption of the era was that God created everything in His likeness,
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whereby the beauty of the world was viewed as a harmonious interaction of contrasts, namely that between macrocosm and microcosm. Proportion was considered an aspect of reality because it was 'not a product of the human mind, nor an invention of the musician'. The work of bishop and philosopher,
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Unlike his predecessor Pseudo-Dionysius, who started his aesthetics from the assumption of an absolute and divine beauty, Aquinas took material beauty subject to empiricism as his starting point. In departing from the
Platonic transcendent, Aquinas moved towards Aristotelianism which enabled the
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The first asserts that the beautiful is experienced through visual pleasure, while the second states that the beautiful is a pleasurable perception. These amount to a single definition of beauty that accounts for both subjective and objective experiences of beauty where the emphasis on sight and
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Augustine's notion of beauty's objective existence is one of his most fundamental ideas. He writes that beauty is objective and that this objectivity is external to humans, who can contemplate beauty without having created it. Augustine wrote that something 'pleases because it is beautiful'. He
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meaning that aspects of His being could be perceived through a symbolic view of the world. For this reason, art did not explicitly depict the transcendentals of truth and beauty because symbolism was instead considered the closest way to apprehending 'traces' of the transcendentals in creation.
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Augustine also expanded the Roman notion of number in rhythm to beauty more generally by regarding rhythm as the sole source of beauty. According to
Augustine, every experience of beauty originates in and is determined by rhythm. Even though he placed heavy emphasis on the beauty of number and
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Musical principles were often enacted into architecture so that buildings would be built according to an 'order reminiscent of a musical melody'. For this reason, architects were frequently called 'composers' who created beautiful buildings according to a 'divine arrangement' whereby correct
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developed the
Classical notion that the beautiful is aligned with the good by writing that beauty is the manifestation of goodness. He justified this assumption through his idea that God is the Cause of everything, meaning that beauty and the beautiful are the same because they have the same
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was imbued with symbolism because this was a solution to balancing the notion that truth was grounded in natural observation against the attempt to depict the spiritual world, which was considered inherently different to reality and thus required idealisation without distorting truth.
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where the writing of Pseudo-Dionysius enjoyed considerable attention, with his notion of emanation allowing churches to be viewed as extension of God. Edessa
Cathedral, for instance, was built so that light entered it through three windows with three facades in order to symbolise the
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underlies much of the writings of St
Augustine and Pseudo-Dionysius. The theory refers to the way in which material objects are merely the reflection or attempt at representation of a perfect, abstract reality. Within Plato's framework, these pure forms of reality are determined by a
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Plotinus is notable for his writings about beauty, which form a substantial part of what has come to be known as
Neoplatonism. Plotinus particularly influenced medieval aesthetics by expanding the notion of beauty so that it was not exclusively conceived in terms of symmetry.
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therefore equality or balance, he also realised the purpose of contrast or the inequality of parts. For example, he attributed the beauty of the world to the contrast between things and therefore he believed the correct and natural placement of things results in beauty.
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points to the contemporary focus on rare stones and metals as evincing the aesthetics of light, because the Latin etymologies of the French for bronze, gold and silver reflect a belief that they were made of illuminated air and that this was the source of the beauty.
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exemplify construction according to these principles, and theology also informed the sense of proportion so that 'from an aerial viewpoint were in the shape of a cross,' which created a sense of 'balance when viewed from within the cathedral'. As pointed out by both
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The aesthetics of St
Augustine are less theological than that of subsequent thinkers due in part to his earlier life as a pagan. His conversion to Christianity allowed Augustine to implant Christianity with Classical ideals, whilst innovating Platonic and
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did not exist as a field of study during the Middle Ages, influential thinkers active during the period did discuss the nature of beauty and thus an understanding of medieval aesthetics can be obtained from their writings.
534:, Grosseteste helped to develop a 'metaphysics of light', whereby it was believed that the world was formed by the presence of light, with the straight rays of the sun impressing orderliness on its surface.
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and asserting that it was the emanation of God. This idea is to be found particularly in the work of Pseudo-Dionysius where the sun symbolises the eternity of light and therefore the constancy of beauty.
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perception creates a holistic groundwork for understanding beauty. His most historically important idea regarding aesthetics was that the beautiful is pleasurable, while not all pleasures are beautiful.
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exploration of the beautiful and the good as independent of each other. This move thus enabled
Aquinas to develop an implicit criteria for beauty: actuality, proportion, radiance and wholeness.
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which advances the mathematical nature of aesthetics and aligns the work of both God and humanity through their common manipulation of these mathematical qualities in order to create beauty.
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highlighted that beauty is, in and of itself, an indispensable aspect of creation; it is inherently harmonious and its existence aligns with humanity's deepest, but 'proper' desires because
461:, musical principles of proportion were applied to the arts more generally, but with prominence in music and architecture. This gave rise to the re-appropriation of the Pythagorean notion
280:, but the Christian interpretation of Plato by Augustine and Dionysius holds that the forms mirror the perfection of God's own mind. This notion underlies the more significant notion of
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Aesthetics as a distinct philosophical branch did not exist during the Middle Ages. Medieval aesthetics as a subject comprises studies of key medieval thinkers by modern writers such as
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he established some grounds for the medieval argument that the beautiful can be equated with the good as 'he believed a tragedy could cleanse negative emotions such as fear and pity'.
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Aesthetic consideration of the material world comes mainly from the Old
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into his discussion of beauty in nature. The theological concerns of these writers meant that their aesthetic theories were relatively neglected post-
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Coomaraswamy, Ananda K. (1938). "Mediaeval Aesthetic: II. St. Thomas Aquinas on Dionysius, and a Note on the Relation of Beauty to Truth".
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Coomaraswamy, Ananda K. (1938). "Mediaeval Aesthetic: II. St. Thomas Aquinas on Dionysius, and a Note on the Relation of Beauty to Truth".
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is an example of the movement during the Middle Ages of trying to understand light in terms of beauty. One of the thirteenth century
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Coomaraswamy, Ananda K. (1935). "Mediaeval Aesthetic: I. Dionysius the Pseudo-Areopagite, and Ulrich Engelberti of Strassburg".
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Coomaraswamy, Ananda K. (1935). "Mediaeval Aesthetic: I. Dionysius the Pseudo-Areopagite, and Ulrich Engelberti of Strassburg".
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Coomaraswamy, Ananda K. (1935). "Mediaeval Aesthetic: I. Dionysius the Pseudo-Areopagite, and Ulrich Engelberti of Strassburg".
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Medieval aesthetics largely derive from the writings of Plato, Aristotle and Plotinus, when viewed through the lens of medieval
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the notion of the beautiful soul is introduced as more valuable than material beauty. Beauty is therefore aligned with the
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of the Holy Ghost, and the ciborium on ten columns symbolises the apostles who were not present at the
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into Christian thought during the translation of the Hebrew into the Greek meant that the passage in
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Augustine asserts that beauty is the unity of disparate parts, such as lines, colours and sounds.
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Magnificence and the sublime in Medieval aesthetics : art, architecture, literature, music
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was constant throughout aesthetics because it extended the Neoplatonist notion that light was
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The God Who Is Beauty: Beauty as a Divine Name in Thomas Aquinas and Dionysius the Areopagite
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inspired an interrogation of the relationship between nature and the divine. The writings of
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985:. Jaeger, C. Stephen. (1st ed.). New York: Palgrave Macmillan. 2010. pp. 17–18.
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Largier, Niklaus (2008-11-01). "Praying by Numbers: An Essay on Medieval Aesthetics".
664:. Gaut, Berys Nigel., Lopes, Dominic. (Third ed.). London. 2013. pp. 27–28.
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and Charles S. Baldwin, cathedrals embody the elision of theology and aesthetics.
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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Hassig, Debra (1990). "Beauty in the Beasts: A Study of Medieval Aesthetics".
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St Thomas Aquinas gave two individualised definitions of beauty in the
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and this definition makes it compatible with Christian spirituality.
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integrated Plato and Plotinus with early Church Doctrine, while
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whose work influenced Medieval thought on proportion and light.
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proportions of latitude, longitude and altitude harmonised.
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Medieval aesthetics is characterized by its synthesis of
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The Work of Art in the Age of Mechanical Reproduction
1996:. New Haven: Yale University Press. pp. 52–53.
1629:. New Haven: Yale University Press. pp. 29–32.
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196:have been inspired by medieval theories of beauty.
762:. New Haven: Yale University Press. pp. 2–3.
192:. In recent times, the works of Spanish director
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1662:. New Haven: Yale University Press. p. 32.
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2199:Wladyslaw Tatarkiewicz (1970). Mouton (ed.).
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1484:. James Clarke & Co Ltd. p. 7.
1034:The Stanford Encyclopedia of Philosophy
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576:, whilst the roof represented the sky.
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2148:Tatarkiewicz, Władysław (2015-08-31).
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2098:Tatarkiewicz, Władysław (2015-08-31).
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1273:. Barrett, C. Berlin. pp. 50–51.
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1103:. Barrett, C. Berlin. pp. 47–49.
1099:Tatarkiewicz, Władysław (2015-08-31).
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149:conceptions of beauty. The thought of
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892:. Barrett, C. Berlin. pp. 5–6.
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1530:. Barrett, C. Berlin. p. 247.
636:Internet Encyclopedia of Philosophy
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1320:. Barrett, C. Berlin. p. 28.
1203:. Barrett, C. Berlin. p. 50.
1153:. Barrett, C. Berlin. p. 49.
449:Due to the enduring legacy of the
370:make something good. In his work,
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1822:. F. Ungar Pub. Co. p. 187.
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939:. Barrett, C. Berlin. p. 7.
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760:Art and beauty in the Middle Ages
632:"Medieval Theories of Aesthetics"
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864:The esthetics of the Middle Ages
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1480:Sammon, Brendan Thomas (2013).
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402:Pseudo-Dionysius the Areopagite
1:
1032:, in Zalta, Edward N. (ed.),
354:ideas with Christian belief.
44:secondary or tertiary sources
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2225:"Introduction: Making Sense"
549:points to the importance of
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2223:Carruthers, Mary (2013),
2025:de Bruyne, Edgar (1969).
1969:de Bruyne, Edgar (1969).
1946:de Bruyne, Edgar (1969).
1841:de Bruyne, Edgar (1969).
1818:de Bruyne, Edgar (1969).
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1053:de Bruyne, Edgar (1969).
862:de Bruyne, Edgar (1969).
805:10.1525/rep.2008.104.1.73
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517:by placing it within an
157:, framed by that of the
3240:Evolutionary aesthetics
3190:The Aesthetic Dimension
1028:Kraut, Richard (2017),
182:Aristotelian philosophy
3170:Avant-Garde and Kitsch
3120:Lectures on Aesthetics
1992:Umberto., Eco (1986).
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715:. Barrett, C. Berlin.
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415:On the Divine Names
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3255:Patterns in nature
3225:Applied aesthetics
3200:Why Beauty Matters
2986:Life imitating art
2847:Art for art's sake
2263:. 19–20: 137–161.
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497:Robert Grosseteste
470:Robert Grosseteste
399:
347:
3323:
3322:
3275:Psychology of art
3150:Art as Experience
425:St Thomas Aquinas
391:St Thomas Aquinas
222:Biblical exegesis
178:St Thomas Aquinas
116:
115:
108:
90:
3348:
3313:
3312:
3311:
3205:
3195:
3185:
3175:
3165:
3155:
3145:
3135:
3125:
3115:
3105:
3095:
3085:
3075:
2374:
2367:
2360:
2351:
2346:
2323:The Art Bulletin
2317:
2294:The Art Bulletin
2288:
2255:
2254:
2253:
2218:
2212:
2204:
2186:
2185:
2179:
2171:
2145:
2136:
2135:
2129:
2121:
2095:
2089:
2088:
2082:
2074:
2048:
2039:
2038:
2022:
2016:
2015:
1989:
1983:
1982:
1966:
1960:
1959:
1943:
1937:
1936:
1930:
1922:
1896:
1890:
1889:
1866:The Art Bulletin
1861:
1855:
1854:
1838:
1832:
1831:
1815:
1809:
1808:
1782:
1776:
1775:
1769:
1761:
1735:
1729:
1728:
1722:
1714:
1688:
1682:
1681:
1655:
1649:
1648:
1622:
1616:
1615:
1609:
1601:
1575:
1564:
1563:
1557:
1549:
1523:
1512:
1511:
1477:
1471:
1470:
1447:The Art Bulletin
1442:
1436:
1435:
1429:
1421:
1395:
1389:
1388:
1365:The Art Bulletin
1360:
1354:
1353:
1347:
1339:
1313:
1307:
1306:
1300:
1292:
1266:
1260:
1259:
1243:
1237:
1236:
1230:
1222:
1196:
1187:
1186:
1180:
1172:
1146:
1137:
1136:
1130:
1122:
1096:
1090:
1089:
1073:
1067:
1066:
1050:
1044:
1043:
1042:
1041:
1025:
1019:
1018:
1012:
1004:
979:
973:
972:
966:
958:
932:
926:
925:
919:
911:
885:
876:
875:
859:
853:
852:
826:
817:
816:
788:
782:
781:
755:
749:
748:
742:
734:
708:
702:
701:
691:
683:
658:
647:
646:
644:
642:
627:
569:Eastern churches
474:unity in variety
432:Summa Theologica
382:Pseudo-Dionysius
174:Pseudo-Dionysius
111:
104:
100:
97:
91:
89:
48:
24:
16:
3356:
3355:
3351:
3350:
3349:
3347:
3346:
3345:
3326:
3325:
3324:
3319:
3309:
3307:
3284:
3208:
3203:
3193:
3183:
3180:Critical Essays
3173:
3163:
3153:
3143:
3133:
3123:
3113:
3103:
3093:
3083:
3073:
3057:
2830:
2744:Ortega y Gasset
2537:
2449:
2383:
2378:
2335:10.2307/3046562
2320:
2306:10.2307/3045565
2291:
2258:
2251:
2249:
2247:
2222:
2205:
2198:
2195:
2193:Further reading
2190:
2189:
2172:
2160:
2147:
2146:
2139:
2122:
2110:
2097:
2096:
2092:
2075:
2063:
2050:
2049:
2042:
2024:
2023:
2019:
2004:
1991:
1990:
1986:
1968:
1967:
1963:
1945:
1944:
1940:
1923:
1911:
1898:
1897:
1893:
1878:10.2307/3046562
1863:
1862:
1858:
1840:
1839:
1835:
1817:
1816:
1812:
1797:
1784:
1783:
1779:
1762:
1750:
1737:
1736:
1732:
1715:
1703:
1690:
1689:
1685:
1670:
1657:
1656:
1652:
1637:
1624:
1623:
1619:
1602:
1590:
1577:
1576:
1567:
1550:
1538:
1525:
1524:
1515:
1500:
1479:
1478:
1474:
1459:10.2307/3045565
1444:
1443:
1439:
1422:
1410:
1397:
1396:
1392:
1377:10.2307/3045565
1362:
1361:
1357:
1340:
1328:
1315:
1314:
1310:
1293:
1281:
1268:
1267:
1263:
1245:
1244:
1240:
1223:
1211:
1198:
1197:
1190:
1173:
1161:
1148:
1147:
1140:
1123:
1111:
1098:
1097:
1093:
1075:
1074:
1070:
1052:
1051:
1047:
1039:
1037:
1027:
1026:
1022:
1005:
993:
981:
980:
976:
959:
947:
934:
933:
929:
912:
900:
887:
886:
879:
861:
860:
856:
841:
828:
827:
820:
793:Representations
790:
789:
785:
770:
757:
756:
752:
735:
723:
710:
709:
705:
684:
672:
660:
659:
650:
640:
638:
629:
628:
587:
582:
544:
506:
447:
427:
384:
332:
327:
318:
292:
256:
230:
218:
210:Edgar de Bruyne
202:
131:Medieval period
112:
101:
95:
92:
49:
47:
41:
37:primary sources
25:
12:
11:
5:
3354:
3352:
3344:
3343:
3338:
3328:
3327:
3321:
3320:
3318:
3317:
3305:
3300:
3295:
3289:
3286:
3285:
3283:
3282:
3277:
3272:
3267:
3262:
3257:
3252:
3250:Neuroesthetics
3247:
3242:
3237:
3232:
3230:Arts criticism
3227:
3222:
3216:
3214:
3210:
3209:
3207:
3206:
3196:
3186:
3176:
3166:
3156:
3146:
3136:
3126:
3116:
3106:
3100:On the Sublime
3096:
3086:
3076:
3065:
3063:
3059:
3058:
3056:
3055:
3050:
3045:
3040:
3035:
3030:
3025:
3020:
3013:
3008:
3003:
2998:
2993:
2988:
2983:
2978:
2971:
2966:
2964:Interpretation
2961:
2956:
2951:
2946:
2941:
2936:
2931:
2926:
2921:
2916:
2911:
2906:
2901:
2896:
2891:
2886:
2881:
2880:
2879:
2874:
2864:
2859:
2857:Artistic merit
2854:
2849:
2844:
2838:
2836:
2832:
2831:
2829:
2828:
2821:
2816:
2811:
2806:
2801:
2796:
2791:
2786:
2781:
2776:
2771:
2766:
2761:
2756:
2751:
2746:
2741:
2736:
2731:
2726:
2721:
2716:
2711:
2706:
2701:
2696:
2691:
2686:
2681:
2676:
2671:
2666:
2661:
2656:
2651:
2646:
2641:
2636:
2631:
2626:
2621:
2616:
2611:
2606:
2601:
2596:
2591:
2586:
2581:
2576:
2571:
2566:
2561:
2556:
2551:
2545:
2543:
2539:
2538:
2536:
2535:
2528:
2523:
2518:
2513:
2508:
2506:Psychoanalysis
2503:
2498:
2493:
2488:
2483:
2478:
2473:
2468:
2463:
2457:
2455:
2451:
2450:
2448:
2447:
2442:
2437:
2432:
2427:
2422:
2417:
2412:
2407:
2402:
2397:
2391:
2389:
2385:
2384:
2379:
2377:
2376:
2369:
2362:
2354:
2348:
2347:
2318:
2289:
2256:
2245:
2220:
2194:
2191:
2188:
2187:
2158:
2137:
2108:
2090:
2061:
2040:
2017:
2003:978-0300036763
2002:
1984:
1961:
1938:
1909:
1891:
1856:
1833:
1810:
1796:978-0300036763
1795:
1777:
1748:
1730:
1701:
1683:
1669:978-0300036763
1668:
1650:
1636:978-0300036763
1635:
1617:
1588:
1565:
1536:
1513:
1498:
1472:
1437:
1408:
1390:
1355:
1326:
1308:
1279:
1261:
1238:
1209:
1188:
1159:
1138:
1109:
1091:
1068:
1045:
1020:
991:
974:
945:
927:
898:
877:
854:
840:978-0300036763
839:
818:
783:
769:978-0300036763
768:
750:
721:
703:
670:
648:
584:
583:
581:
578:
543:
540:
505:
502:
464:musica mundana
446:
443:
426:
423:
395:Carlo Crivelli
383:
380:
331:
328:
326:
323:
317:
314:
291:
288:
255:
252:
247:Book of Wisdom
229:
226:
217:
214:
201:
200:Historiography
198:
114:
113:
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
3353:
3342:
3339:
3337:
3334:
3333:
3331:
3316:
3306:
3304:
3301:
3299:
3296:
3294:
3291:
3290:
3287:
3281:
3280:Theory of art
3278:
3276:
3273:
3271:
3268:
3266:
3263:
3261:
3258:
3256:
3253:
3251:
3248:
3246:
3243:
3241:
3238:
3236:
3233:
3231:
3228:
3226:
3223:
3221:
3218:
3217:
3215:
3211:
3202:
3201:
3197:
3192:
3191:
3187:
3182:
3181:
3177:
3171:
3167:
3161:
3157:
3152:
3151:
3147:
3142:
3141:
3137:
3131:
3127:
3122:
3121:
3117:
3112:
3111:
3107:
3102:
3101:
3097:
3092:
3091:
3087:
3082:
3081:
3077:
3072:
3071:
3070:Hippias Major
3067:
3066:
3064:
3060:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3018:
3014:
3012:
3009:
3007:
3004:
3002:
2999:
2997:
2994:
2992:
2989:
2987:
2984:
2982:
2979:
2977:
2976:
2972:
2970:
2967:
2965:
2962:
2960:
2957:
2955:
2952:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2930:
2929:Entertainment
2927:
2925:
2922:
2920:
2917:
2915:
2912:
2910:
2907:
2905:
2902:
2900:
2897:
2895:
2892:
2890:
2887:
2885:
2882:
2878:
2875:
2873:
2870:
2869:
2868:
2865:
2863:
2860:
2858:
2855:
2853:
2852:Art manifesto
2850:
2848:
2845:
2843:
2842:Appropriation
2840:
2839:
2837:
2833:
2827:
2826:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
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2800:
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2795:
2792:
2790:
2787:
2785:
2782:
2780:
2777:
2775:
2772:
2770:
2767:
2765:
2762:
2760:
2757:
2755:
2752:
2750:
2747:
2745:
2742:
2740:
2737:
2735:
2734:Merleau-Ponty
2732:
2730:
2727:
2725:
2722:
2720:
2717:
2715:
2712:
2710:
2707:
2705:
2702:
2700:
2697:
2695:
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2677:
2675:
2672:
2670:
2667:
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2660:
2657:
2655:
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2650:
2647:
2645:
2642:
2640:
2637:
2635:
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2630:
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2622:
2620:
2617:
2615:
2612:
2610:
2607:
2605:
2602:
2600:
2597:
2595:
2592:
2590:
2587:
2585:
2582:
2580:
2577:
2575:
2572:
2570:
2567:
2565:
2562:
2560:
2557:
2555:
2552:
2550:
2549:Abhinavagupta
2547:
2546:
2544:
2540:
2534:
2533:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2502:
2501:Postmodernism
2499:
2497:
2494:
2492:
2489:
2487:
2484:
2482:
2479:
2477:
2474:
2472:
2469:
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2418:
2416:
2413:
2411:
2408:
2406:
2403:
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2286:
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2278:
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2257:
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2246:9780199590322
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2238:
2234:
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2226:
2221:
2216:
2210:
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2197:
2196:
2192:
2183:
2177:
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2165:
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2159:9783110808223
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2127:
2119:
2115:
2111:
2109:9783110808223
2105:
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2062:9783110808223
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2018:
2013:
2009:
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1972:
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1962:
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186:Enlightenment
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51:Find sources:
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29:This article
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2991:Magnificence
2973:
2823:
2789:Schopenhauer
2624:Coomaraswamy
2542:Philosophers
2530:
2461:Aestheticism
2424:
2329:(1): 66–77.
2326:
2322:
2300:(1): 31–47.
2297:
2293:
2260:
2250:, retrieved
2228:
2203:. The Hague.
2200:
2149:
2099:
2093:
2052:
2026:
2020:
1993:
1987:
1970:
1964:
1947:
1941:
1900:
1894:
1872:(1): 73–74.
1869:
1865:
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1842:
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1819:
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1786:
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1508:j.ctt1cgf4sw
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1038:, retrieved
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1023:
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930:
889:
863:
857:
830:
799:(1): 73–91.
796:
792:
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661:
641:11 September
639:. Retrieved
635:
574:Holy Trinity
561:
545:
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451:Pythagoreans
448:
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339:St Augustine
338:
330:St Augustine
325:Key thinkers
319:
307:
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295:
293:
281:
270:
259:
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170:St Augustine
159:Neoplatonist
140:
118:
117:
102:
96:October 2018
93:
83:
76:
69:
62:
50:
30:
3084:(c. 335 BC)
3074:(c. 390 BC)
3053:Work of art
3006:Picturesque
2862:Avant-garde
2819:Winckelmann
2694:Kierkegaard
2619:Collingwood
2589:Baudrillard
2516:Romanticism
2486:Historicism
2420:Mathematics
565:Crucifixion
547:J. Huizinga
532:scholastics
419:divine name
393:, 1476, by
206:Umberto Eco
194:Luis Buñuel
190:Renaissance
133:. Although
129:during the
3330:Categories
3023:Recreation
3001:Perception
2894:Creativity
2594:Baumgarten
2584:Baudelaire
2466:Classicism
2381:Aesthetics
2252:2018-09-11
1040:2018-10-19
580:References
482:Cathedrals
445:Proportion
352:Ciceronian
135:Aesthetics
123:philosophy
66:newspapers
33:references
3028:Reverence
2934:Eroticism
2904:Depiction
2877:Masculine
2779:Santayana
2739:Nietzsche
2684:Hutcheson
2674:Heidegger
2659:Greenberg
2614:Coleridge
2579:Balthasar
2564:Aristotle
2526:Theosophy
2521:Symbolism
2496:Modernism
2481:Formalism
2285:193586246
2277:0277-1322
2209:cite book
2176:cite book
2168:979634314
2126:cite book
2118:979634314
2079:cite book
2071:979634314
1979:654158532
1956:654158532
1927:cite book
1919:979634314
1851:654158532
1828:654158532
1766:cite book
1758:979634314
1719:cite book
1711:979634314
1606:cite book
1598:979634314
1554:cite book
1546:979634314
1453:(1): 32.
1426:cite book
1418:979634314
1371:(1): 39.
1344:cite book
1336:979634314
1297:cite book
1289:979634314
1227:cite book
1219:979634314
1177:cite book
1169:979634314
1127:cite book
1119:979634314
1086:654158532
1009:cite book
1001:437300350
963:cite book
955:979634314
916:cite book
908:979634314
813:0734-6018
739:cite book
731:979634314
688:cite book
680:813220944
551:symbolism
542:Symbolism
515:emanation
459:De Musica
372:On Music,
290:Aristotle
261:Symposium
228:The Bible
151:Aristotle
147:Christian
143:Classical
3303:Category
3235:Axiology
3104:(c. 500)
3094:(c. 100)
2969:Judgment
2924:Emotions
2919:Elegance
2899:Cuteness
2872:Feminine
2835:Concepts
2804:Tanizaki
2784:Schiller
2769:Richards
2759:Rancière
2729:Maritain
2664:Hanslick
2604:Benjamin
2476:Feminism
2445:Theology
2425:Medieval
2415:Japanese
2410:Internet
2012:15488935
1805:15488935
1678:15488935
1645:15488935
849:15488935
778:15488935
528:On Light
455:Boethius
316:Plotinus
300:and the
278:demiurge
271:Plato's
162:Plotinus
3298:Outline
3213:Related
3080:Poetics
3048:Tragedy
3038:Sublime
3011:Quality
2996:Mimesis
2954:Harmony
2939:Fashion
2914:Ecstasy
2909:Disgust
2825:more...
2794:Scruton
2719:Lyotard
2654:Goodman
2634:Deleuze
2569:Aquinas
2559:Alberti
2532:more...
2511:Realism
2491:Marxism
2471:Fascism
2454:Schools
2440:Science
2395:Ancient
2343:3046562
2314:3045565
1886:3046562
1467:3045565
1385:3045565
1030:"Plato"
360:measure
309:Poetics
303:Gorgias
283:mimesis
258:In the
241:Genesis
216:Origins
80:scholar
3204:(2009)
3194:(1977)
3184:(1946)
3174:(1939)
3164:(1935)
3154:(1934)
3144:(1933)
3134:(1891)
3124:(1835)
3114:(1757)
2981:Kitsch
2959:Humour
2889:Comedy
2867:Beauty
2809:Vasari
2799:Tagore
2774:Ruskin
2714:Lukács
2704:Langer
2649:Goethe
2574:Balázs
2554:Adorno
2435:Nature
2400:Africa
2341:
2312:
2283:
2275:
2243:
2166:
2156:
2116:
2106:
2069:
2059:
2033:
2010:
2000:
1977:
1954:
1917:
1907:
1884:
1849:
1826:
1803:
1793:
1756:
1746:
1709:
1699:
1676:
1666:
1643:
1633:
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1506:
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1416:
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811:
776:
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729:
719:
678:
668:
127:beauty
82:
75:
68:
61:
53:
3293:Index
3062:Works
3043:Taste
3033:Style
2814:Wilde
2754:Plato
2749:Pater
2709:Lipps
2669:Hegel
2639:Dewey
2629:Danto
2609:Burke
2430:Music
2405:India
2388:Areas
2339:JSTOR
2310:JSTOR
2281:S2CID
1882:JSTOR
1504:JSTOR
1463:JSTOR
1381:JSTOR
511:light
509:with
504:Light
407:cause
368:order
254:Plato
235:kalos
166:Bible
155:Plato
87:JSTOR
73:books
3017:Rasa
2975:Kama
2949:Gaze
2884:Camp
2764:Rand
2699:Klee
2689:Kant
2679:Hume
2599:Bell
2273:ISSN
2241:ISBN
2215:link
2182:link
2164:OCLC
2154:ISBN
2132:link
2114:OCLC
2104:ISBN
2085:link
2067:OCLC
2057:ISBN
2035:1527
2031:OCLC
2008:OCLC
1998:ISBN
1975:OCLC
1952:OCLC
1933:link
1915:OCLC
1905:ISBN
1847:OCLC
1824:OCLC
1801:OCLC
1791:ISBN
1772:link
1754:OCLC
1744:ISBN
1725:link
1707:OCLC
1697:ISBN
1674:OCLC
1664:ISBN
1641:OCLC
1631:ISBN
1612:link
1594:OCLC
1584:ISBN
1560:link
1542:OCLC
1532:ISBN
1494:ISBN
1432:link
1414:OCLC
1404:ISBN
1350:link
1332:OCLC
1322:ISBN
1303:link
1285:OCLC
1275:ISBN
1256:1527
1252:OCLC
1233:link
1215:OCLC
1205:ISBN
1183:link
1165:OCLC
1155:ISBN
1133:link
1115:OCLC
1105:ISBN
1082:OCLC
1063:1527
1059:OCLC
1015:link
997:OCLC
987:ISBN
969:link
951:OCLC
941:ISBN
922:link
904:OCLC
894:ISBN
872:1527
868:OCLC
845:OCLC
835:ISBN
809:ISSN
774:OCLC
764:ISBN
745:link
727:OCLC
717:ISBN
698:link
694:link
676:OCLC
666:ISBN
643:2018
453:and
366:and
364:form
266:Good
208:and
172:and
153:and
145:and
59:news
2944:Fun
2724:Man
2644:Fry
2331:doi
2302:doi
2265:doi
2233:doi
1874:doi
1486:doi
1455:doi
1373:doi
801:doi
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