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586:) was diffused, which resulted in a typology of gardens that served as a precursor for the picturesque style. These aesthetic preferences were driven by nationalistic statements of incorporating goods and scenery from one's own country, framing mechanisms which dictate the overall experience, and a simultaneous embracing of irregular qualities while manipulating the "natural" scenery to promote them. The importance of this comparison lies in its location at the beginning of modernism and modernization, marking a period in which Nature was allowed to become less mathematically ordered but where intervention was still paramount but could be masked compositionally and just shortly after technologically as in
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208:, "While the outstanding qualities of the sublime were vastness and obscurity, and those of the beautiful smoothness and gentleness", the characteristics of the picturesque were "roughness and sudden variation joined to irregularity of form, colour, lighting, and even sound". The first option is the harmonic and classical (i. e. beauty); the second, the grandiose and terrifying (i. e. the sublime); and the third, the rustic, corresponding to the picturesque and connecting qualities of the first two options. This triple definition by Hussey, although modern, is true to the concept of the epoch, as
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walks of trees in straight lines, and over-against one another, and to what length and extent he pleases. But their greatest reach of imagination is employed in contriving figures, where the beauty shall be great, and strike the eye, but without any order or disposition of parts that shall be commonly or easily observed: and, though we have hardly any notion of this sort of beauty, yet they have a particular word to express it, and, where they find it hit their eye at first sight, they say the
448:, and suggested that Temple coined the word "sharawadgi" himself. These authors placed Temple's discovery in the context of upcoming ideas on the picturesque. P. Quennell (1968) concurred that the term could not be traced to any Chinese word, and favored the Japanese etymology. Takau Shimada (1997) believed the irregular beauty that Temple admired was more likely characteristic of Japanese gardens, owing to the irregular topography upon which they were built, and compared the Japanese word
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161:(1594–1665). Both painters worked in a somewhat stiff, mannered style, with a focus on archaeological remains and towering pine trees, followed by several Dutchmen who had also traveled to Rome. Soon, deviating from the classical ideal of perfection in beauty epitomized by healthy, towering trees, landscape painters came to discover the sublimity of the withered old tree; the two withered oaks by
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of the historically elite tour of the great
European cities. One of the major commonalities of the picturesque style movement is the role of travel and its integration in designing one's home to enhance one's political and social standing. A simple description of the picturesque is the visual qualities of Nature suitable for a picture. However,
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525:. Burke suggested a third category including those things which neither inspire awe with the sublime or pleasure with the beautiful. He called it "the picturesque" and qualified it to mean all that cannot fit into the two more rational states evoked by the other categories. A flurry of English authors beginning with
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Gilpin wrote prolifically on the merits of touring the countryside of
England. The naturally morose, craggy, pastoral, and untouched landscape of northern England and Scotland was a suitable endeavor for the rising middle classes, and Gilpin thought it almost patriotic to travel the homeland instead
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without direct definition, excepting a gloss under the Temple quotation. It notes the etymology is "Of unknown origin; Chinese scholars agree that it cannot belong to that language. Temple speaks as if he had himself heard it from travellers". Ciaran Murray emphasizes that Temple used "the
Chineses"
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Among us , the beauty of building and planting is placed chiefly in some certain proportions, symmetries, or uniformities; our walks and our trees ranged so as to answer one another, and at exact distances. The
Chineses scorn this way of planting, and say, a boy, that can tell an hundred, may plant
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argued that the soft gentle curves appealed to the male sexual desire, while the sublime horrors appealed to our desires for self-preservation. Picturesque arose as a mediator between these opposed ideals of beauty and the sublime, showing the possibilities that existed between these two rationally
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applied picturesque theory to the practice of landscape design. In conjunction with the work of Price and Knight, this led to the 'picturesque theory' that designed landscapes should be composed like landscape paintings with a foreground, a middle ground and a background. Repton believed that the
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The pictorial genre called "Picturesque" appeared in the 17th century and flourished in the 18th. As well as portraying beauty in the classical manner, eighteenth-century artists could overdo it from top to bottom. Their pre-Romantic sensitivity could aspire to the sublime or be pleased with the
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began to be used in art writing as seen with
Italian authors such as Vasari (1550), Lomazzo (1584), and Ridolfi (1648). The word is applied to the manner of depicting a subject in painting, roughly in the sense of "non-classical" or "painted non-academically" in a similar way as Dutch painters
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During the mid 18th century the idea of purely scenic pleasure touring began to take hold among the
English leisured class. This new image disregarded the principles of symmetry and perfect proportions while focusing more on "accidental irregularity," and moving more towards a concept of
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was not just a simply deliberate, conscious rational decision based on principles of, e.g., symmetry, proportion, and harmony. It could come, for instance, more naturally as a matter of instinctual response involving the non-rational appetites. For instance,
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mentions that "I am almost as fond of the
Sharawaggi, or Chinese want of symmetry, in buildings, as in grounds or gardens" (1750). Imaginations of Far Eastern irregularity and sharawadgi returns frequently in the eighteenth and nineteenth century discourse.
165:(1641) are a well-known example. For those who tried to find an answer to the classicism of French landscape painting, the lonely spruce at a wild cataract that caught the sublimity of nature became a recurring theme, most explicitly expressed by
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is fine or is admirable, or any such expression of esteem. And whoever observes the work upon the best India gowns, or the painting upon their best screens or purcellans, will find their beauty is all of this kind (that is) without order. (1690:
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151:). Highly instrumental in the establishing of a taste for the picturesque in northern Europe was landscape painting, in which the realism of the Dutch played a significant role. This cannot be seen separate from other developments in Europe.
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The picturesque style in landscape gardening was a conscious manipulation of Nature to create foregrounds, middlegrounds, and backgrounds in a move to highlight a selection of provocative formal elements—in short the later appropriation of
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philosophy had freed Nature from the ideal forms of allegory and classical pursuits, essentially embracing the imperfections in both landscapes and plants. In this way the idea progressed beyond the study of great landscape painters like
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about them and they boasted of their encounters with savage landscapes. Picturesque-hunters tried to "capture" wild scenes, and "fixed" them as pictorial trophies in order to sell them or hang them in frames on their
169:. This painter painted picturesque garden scenes that can be seen as early representations of picturesque gardens in Europe. Similar landscape naturalism in English gardens emerged within cultural spheres around
500:, to be happy circumstance instead of carefully manipulated garden design. His idea of highlighting natural imperfections and spatial inconsistencies was the inspiration for fashioning early 18th-century "
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in a letter of 1724, refers to Temple's Far East: "For as to the hanging
Gardens of Babylon, the Paradise of Cyrus, and the Sharawaggi's of China, I have little or no Idea's of 'em"; a few years later
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walls. Gilpin asked: "shall we suppose it a greater pleasure to the sportsman to pursue a trivial animal, than it is to the man of taste to pursue the beauties of nature?"
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in blanket reference inclusive of all
Oriental races during a time when the East-West dialogues and influences were quite fluid. He also wanted to see similarity between
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wrote in 1765 of the
Scottish Highlands: "The mountains are ecstatic . None but those monstrous creatures of God know how to join so much beauty with so much horror."
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into experimentation with creating episodic, evocative, and contemplative landscapes in which elements were combined for their total effect as an individual picture.
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foreground should be the realm of art (with formal geometry and ornamental planting), that the middleground should have a parkland character of the type created by
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An Essay on the Picturesque, as Compared with the Sublime and the Beautiful; and on the Use of Studying Pictures, for the Purpose of Improving Real Landscape
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Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770
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Though seemingly vague and far away, the Far East, China and Japan, played a considerable role in inspiring a taste for the picturesque.
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Three Essays: On Picturesque Beauty; On Picturesque Travel; and on Sketching Landscape: to which is Added a Poem, On Landscape Painting
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Wybe Kuitert "Japanese Art, Aesthetics, and a European discourse - unraveling Sharawadgi" Japan Review 2014 ISSN 0915-0986 (Vol.27)
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Pittoresco: Marco Boschini, his critics, and their critiques of painterly brush-work in seventeenth- and eighteenth-century Italy
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1927 focused modern thinking on the development of this approach. The picturesque idea continues to have a profound influence on
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were being challenged by accounts of the experiences of beauty and sublimity that involved non-rational elements. Aesthetic
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In 1815 when Europe was available to travel again after the wars, new fields for picturesque-hunters opened in Italy.
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to various Chinese and Japanese terms for garden design. Two Chinese authors suggested the Chinese expressions
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452:(触りない) "do not touch; leave things alone". Ciaran Murray (1998, 1999) reasons that Temple heard the word
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Wybe Kuitert (November 2017). "Spruces, pines, and the picturesque in seventeenth-century Netherlands".
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exclaimed in Albano in the 1870s: "I have talked of the picturesque all my life; now at last I see it".
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as "a term expressive of that peculiar kind of beauty, which is agreeable in a picture" (p. xii).
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The term "picturesque" needs to be understood in relationship to two other aesthetic ideals: the
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157:(1604–1682) was a well-known French painter, who had developed landscape painting in Rome, like
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The picturesque as a topic in discourse came up in the late Renaissance in Italy where the term
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692:. In 1944 he published "Exterior Furnishing or Sharawaggi: The Art of Making Urban Landscap".
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European Fans in the 17th and 18th Centuries: Images, Accessories, and Instruments of Gesture
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wrote in 1820: "Had I never visited Italy, I think I should never have understood the word
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Three Essays: On Picturesque Beauty, on Picturesque Travel, and on Sketching Landscape
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to make sketches using tinted portable mirrors to frame and darken the view, known as
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explained in 1794. The examples Price gave for these three aesthetic tendencies were
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soon followed, and went into several editions that the author revised and expanded.
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366:(1628–1699) was a statesman and essayist who traveled throughout Europe. His essay
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Shaping the Surface: Materiality and the History of British Architecture 1840-2000
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described what he called the taste of the "Chineses" for a beauty without order.
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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Ch'ien, Chung-shu. "China in the English Literature of the Seventeenth Century,"
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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Map of Parc des Buttes Chaumont 1867, built according to plans by Adolphe Alphand
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from which the discussion on the picturesque in the English landscape took hold.
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discussed developments in painting in the seventeenth century as "painter-like" (
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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Pictures and Poetry. Debunking the Bunk: An Examination of Picturesque Influence
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Temple's development of fashionable "sharawadgi" garden design was followed by
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a good friend of William Temple, tracing the term as the Japanese aesthetic
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identified the "picturesque" as a genuinely modern aesthetic category, in
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which was a satire of the ideal and famously skewered Picturesque-hunters.
444:(1949) dismissed these two unattested Chinese terms, doubted the Japanese
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saw as synonymous with the picturesque and worthy of emulation. These new
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232:'s work was a direct challenge to the ideology of the well established
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440:(揃わず) "incomplete; unequal (in size); uneven; irregular". S. Lang and
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Lang, S. and Nikolaus Pevsner. "Sir William Temple and Sharawadgi",
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493:(洒落味、しゃれ味) that belonged to applied arts – including garden design.
481:. Wybe Kuitert, a notable scholar of Japanese garden history placed
888:. Cambridge, New York: Cambridge University Press. pp. 88–196.
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and that the background should have a wild and 'natural' character.
664:. Cronin Hastings combined the different landscape philosophies of
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Temple misinterpreted wild irregularity, which he characterized as
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1015:. London and Boston: Routledge & Kegan Paul. pp. 432–433.
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conclusively in the discourse that was on in the circles around
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The Picturesque: architecture, disgust and other irregularities
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Upon the Gardens of Epicurus; or Of Gardening, in the Year 1685
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Studies in the History of Gardens & Designed Landscapes
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Glenn Hooper: "The Isles / Ireland: the wilder shore". In:
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James Buzard: "The Grand Tour and after (1660–1840)". In:
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James Buzard: "The Grand Tour and after (1660–1840)". In:
788:(1874) considered a classic of picturesque travel writing.
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travelers who had visited Japanese gardens, following the
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Multiple authors have attempted to trace the etymology of
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ideal introduced into English cultural debate in 1782 by
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Gatenby, E. V. "The Influence of Japanese on English",
1000:. London and New York: G.P. Putnam's Sons. p. 16.
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Simiolus: Netherlands Quarterly for the History of Art
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The Tour of Doctor Syntax in Search of the Picturesque
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The Work of Art in the Age of Mechanical Reproduction
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Recollections of a Tour Made in Scotland, A. D. 1803
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An Analytical Inquiry into the Principles of Taste,
504:gardens" in England. The most famous example was
31:A view of the Roman Campagna from Tivoli, evening
618:A drawing of Cullen's showing use of perspective
329:The Far East in the discourse on the picturesque
582:. It is unique that an idea on applied design (
1055:Danijela Bucher; Miriam Volmert, eds. (2019).
1256:
1216:George P. Landow, "Ruskin on the Picturesque"
1028:Glenn Hooper (2001). "The Isles/Ireland". In
541:all called for promotion of the picturesque.
306:category of the beautiful in the publication
8:
1981:The Literary Mind and the Carving of Dragons
730:The Picturesque: Studies in a Point of View,
708:published an 1809 poem with pictures called
436:(揃わじ) "not being regular", an older form of
1233:, by Keith Waddington. A Masters Thesis at
1226:Landscape Style of Repton, Price and Knight
998:The picturesque: studies in a point of view
302:Gilpin differentiated picturesque from the
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1107:Quarterly Bulletin of Chinese Bibliography
1147:Sharawadgi: The Romantic Return to Nature
1081:The Cambridge Companion to Travel Writing
1030:The Cambridge Companion to Travel Writing
872:The Cambridge Companion to Travel Writing
859:The Cambridge Companion to Travel Writing
636:in Britain. Authors who published in the
83:. By the last third of the 18th century,
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1013:The Victorian City: Images and Realities
985:. London: Penguin Books. pp. 31–32.
216:'s music as the sublime, a pastorale by
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270:Picturesque-hunters began crowding the
1221:"Turner's journeys of the imagination"
1183:. Bloomsbury Publishing. p. 128.
220:as the beautiful, and a painting of a
119:Historical background and development
7:
1092:Chang, Y.Z. "A Note on Sharwadgi",
622:In the 1930s and 1940s the editor
14:
473:and a supposed southern Japanese
132:, Looking towards the East Window
68:sensibility of the 18th century.
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775:The Seven Lamps of Architecture.
756:, revised. edition London, 1796.
2232:Themes of the Romantic Movement
1135:, 106 (1949), pp. 391–392.
684:. Cronin Hastings advanced his
1096:45.4 (1930), pp. 221–224.
1043:The Search for the Picturesque
722:was published in London, 1792.
253:An Artist Studying from Nature
1:
1120:Studies in English Literature
960:10.1080/14601176.2017.1404223
632:in his attempt to popularize
228:individualism and rusticity.
64:, was a part of the emerging
2111:Aestheticization of politics
996:Hussey, Christopher (1927).
128:The Chancel and Crossing of
1122:1 (1931), pp. 508–520.
1109:1 (1940), pp. 351–384.
1059:. De Gruyter. p. 154.
765:Lancelot "Capability" Brown
184:), and derived from French
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899:Bakker, Boudewijn (1995).
573:after proposed landscaping
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204:picturesque. According to
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1011:Taylor, Nicholas (1973).
624:Hubert de Cronin Hastings
462:Oxford English Dictionary
182:Oxford English Dictionary
19:For the MOLLY album, see
1133:The Architectural Review
1041:Malcolm Andrews (1989):
981:Richardson, Tim (2011).
610:Picturesque architecture
592:Parc des Buttes Chaumont
2131:Evolutionary aesthetics
2081:The Aesthetic Dimension
1145:Murray, Ciaran (1999).
2061:Avant-Garde and Kitsch
2011:Lectures on Aesthetics
1149:. Austin and Winfield.
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508:'s "Elysian field" at
477:dialect pronunciation
432:derived from Japanese
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255:by Claude Lorrain 1639
139:
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2206:Philosophy portal
1179:Stephen Kite (2022).
1094:Modern Language Notes
884:Sohm, Philip (1991).
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596:Frederick Law Olmsted
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351:
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315:Anna Brownell Jameson
290:had something of the
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111:idealised states. As
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2151:Philosophy of design
2031:In Praise of Shadows
2021:The Critic as Artist
1235:Concordia University
983:The Arcadian Friends
740:Richard Payne Knight
736:and planting design.
650:James Maude Richards
638:Architectural Review
629:Architectural Review
531:Richard Payne Knight
263:Villa Doria park in
224:as the picturesque.
176:In England the word
2161:Philosophy of music
2136:Mathematical beauty
634:modern architecture
567:Wentworth Woodhouse
512:built around 1738.
487:Constantijn Huygens
244:Picturesque-hunters
21:Picturesque (album)
2227:1782 introductions
2156:Philosophy of film
2146:Patterns in nature
2116:Applied aesthetics
2091:Why Beauty Matters
1877:Life imitating art
1738:Art for art's sake
1166:2017-03-18 at the
799:Landscape painting
780:Dorothy Wordsworth
726:Christopher Hussey
680:under the heading
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364:Sir William Temple
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206:Christopher Hussey
167:Jacob van Ruisdael
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218:Arcangelo Corelli
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104:in his 1757
102:Edmund Burke
91:ideas about
78:
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70:
53:
41:
40:
30:
1975:(c. 335 BC)
1965:(c. 390 BC)
1944:Work of art
1897:Picturesque
1753:Avant-garde
1710:Winckelmann
1585:Kierkegaard
1510:Collingwood
1480:Baudrillard
1407:Romanticism
1377:Historicism
1311:Mathematics
771:John Ruskin
682:picturesque
678:rationalism
670:abstraction
510:Stowe House
340:, built by
338:Kew Gardens
323:Henry James
319:picturesque
238:classically
198:picturesque
192:. Gilpin's
186:pittoresque
178:picturesque
113:Thomas Gray
89:rationalist
42:Picturesque
37:, 1644–1645
2221:Categories
1914:Recreation
1892:Perception
1785:Creativity
1485:Baumgarten
1475:Baudelaire
1357:Classicism
1272:Aesthetics
845:References
829:Wye Valley
804:Sharawadgi
666:surrealism
646:John Piper
584:Sharawadgi
502:Sharawadgi
498:sharawadgi
483:sharawadgi
471:sharawadgi
466:Sharawadgi
454:sharawadgi
429:sharawadgi
416:sharawadgi
393:Twickenham
377:sharawadgi
358:Sharawadgi
234:Grand Tour
190:pittoresco
144:pittoresco
97:experience
93:aesthetics
1919:Reverence
1825:Eroticism
1795:Depiction
1768:Masculine
1670:Santayana
1630:Nietzsche
1575:Hutcheson
1565:Heidegger
1550:Greenberg
1505:Coleridge
1470:Balthasar
1455:Aristotle
1417:Theosophy
1412:Symbolism
1387:Modernism
1372:Formalism
968:165427133
925:0037-5411
690:Townscape
642:Paul Nash
626:used the
491:share'aji
479:shorowaji
450:sawarinai
321:", while
74:beautiful
62:Celticism
46:aesthetic
2194:Category
2126:Axiology
1995:(c. 500)
1985:(c. 100)
1860:Judgment
1815:Emotions
1810:Elegance
1790:Cuteness
1763:Feminine
1726:Concepts
1695:Tanizaki
1675:Schiller
1660:Richards
1650:Rancière
1620:Maritain
1555:Hanslick
1495:Benjamin
1367:Feminism
1336:Theology
1316:Medieval
1306:Japanese
1301:Internet
1164:Archived
1045:, p. 67.
793:See also
640:include
519:'s 1757
446:sorowaji
438:sorowazu
434:sorowaji
288:tourists
77:and the
66:Romantic
2189:Outline
2104:Related
1971:Poetics
1939:Tragedy
1929:Sublime
1902:Quality
1887:Mimesis
1845:Harmony
1830:Fashion
1805:Ecstasy
1800:Disgust
1716:more...
1685:Scruton
1610:Lyotard
1545:Goodman
1525:Deleuze
1460:Aquinas
1450:Alberti
1423:more...
1402:Realism
1382:Marxism
1362:Fascism
1345:Schools
1331:Science
1286:Ancient
933:3780826
547:Lockean
159:Poussin
80:sublime
2095:(2009)
2085:(1977)
2075:(1946)
2065:(1939)
2055:(1935)
2045:(1934)
2035:(1933)
2025:(1891)
2015:(1835)
2005:(1757)
1872:Kitsch
1850:Humour
1780:Comedy
1758:Beauty
1700:Vasari
1690:Tagore
1665:Ruskin
1605:Lukács
1595:Langer
1540:Goethe
1465:Balázs
1445:Adorno
1326:Nature
1291:Africa
1187:
1063:
966:
931:
923:
782:wrote
676:, and
660:, and
537:, and
475:Kyūshū
397:grotto
214:Handel
138:, 1794
58:Gothic
44:is an
2184:Index
1953:Works
1934:Taste
1924:Style
1705:Wilde
1645:Plato
1640:Pater
1600:Lipps
1560:Hegel
1530:Dewey
1520:Danto
1500:Burke
1321:Music
1296:India
1279:Areas
964:S2CID
929:JSTOR
458:Dutch
456:from
1908:Rasa
1866:Kama
1840:Gaze
1775:Camp
1655:Rand
1590:Klee
1580:Kant
1570:Hume
1490:Bell
1185:ISBN
1061:ISBN
921:ISSN
704:and
598:and
594:and
554:and
344:1761
87:and
60:and
1835:Fun
1615:Man
1535:Fry
956:doi
913:doi
602:'s
590:'s
391:at
380:58)
134:by
52:in
33:by
2223::
2063:"
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1021:^
962:.
952:38
950:.
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919:.
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903:.
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606:.
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2019:"
1264:e
1257:t
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970:.
958::
935:.
915::
23:.
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