IMG_2050A Hubert Robert 1733-1808 Paris The temple of Diane in Nîmes. Interior ot the Temple of Diana at Nimes in 1783 Madrid Thyssen-Bornemisza Museum

IMG_2050A Hubert Robert 1733-1808 Paris The temple of Diane in Nîmes. Interior ot the Temple of Diana at Nimes in 1783 Madrid Thyssen-Bornemisza Museum
Hubert Robert 1733-1808 Paris
The temple of Diane in Nîmes.
Interior ot the Temple of Diana at Nimes
1783
Madrid Museum Thyssen Bornemisza

THE BEAUTIFUL IS A SHARED EXPERIENCE

"The world discerns the beauty, and, the ugly is revealed. The world recognizes the good and the evil is revealed."
Dao De Jing, the Book of the Way and the Virtue
LAO TZU (Laozi)

“When the people of the world all know beauty as beauty, there arises the recognition of ugliness. When they all know the good as good, there arises the recognition of evil.”
Dao De Jing, The Book of The Way and Virtue
LAO TZU (Laozi)

"All the florentine art, from Giotto and throughout the Quattrocento, has this amazing quality of absolute truth recognized. The immediate effect of a great Giotto or a Masaccio, is to leave the viewer speechless. It was formerly known as the Beauty."
MARY MAC CARTHY "The Stones of Florence" 1956.

“All great Florentine art, from Giotto through the quattrocento, has the faculty of amazing with its unexpected and absolute truthfulness. This faculty was once called beauty The immediate effect of a great Giotto gold Masaccio is to strike the beholder dumb.”
MARY McCARTHY, “The Stones of Florence,” 1956.

"It is impossible to not understand the art of a medieval if we do not understand what is the space of freedom there is granted to the artist. Medieval art offers evidence of a pleasure for shapes that is common to the artists and their public, and who is not to be confused with religious inspiration."
ANDRE CHASTEL. French Art, Flammarion 1993

"It is impossible to understand anything about medieval art if we do not understand what space of freedom is granted to the artist. Medieval art offers evidence of a pleasure of form that is common to artists and their audiences and not confused with religious inspiration."
ANDRE CHASTEL. French Art, Flammarion, 1993

Contrary to popular belief, all-new, considered as an evidence in our times, the Beautiful is not subjective. No, Beautiful is not only a question of personal taste, an arbitrary total, absolutely self-centered. The beautiful is not autistic, it is a share, even if some of its forms may be more accessible to some people than others, some cultures and not others.
The proof that the Beautiful exists, that it is acknowledged and agreed unanimously by public opinion, and that of specialists, for millions of works whose creation dates range from 3000 bc to the present day. The Beautiful is recognized, it is lived as an experience commonly shared, not only in art but in the whole spectacle of Nature.
It is necessary to leave aside the abstract definitions. The Philosophers were never able to give a satisfactory definition, and indisputable beauty. Leave it to Plato his Idea of a Beautiful, transcendent, is impossible to achieve. Remain at a level that is more trivial, the remarkable beauty, concrete : there is absolutely no serious discussion about the existence of the Beautiful, a feeling in common, is an emotion, poetic, shared by millions of men since The Paleolithic Art, Art Egyptian up to Modern Art, from China to Europe and America.
The Beautiful is not defined, it is felt individually and collectively. Individually felt the beautiful is only subjective, it is of no importance to a person, collectively, felt, and shared by the elites and the population, as a whole, it is objective. It’s becoming a reality at the scale of a community more or less wide, and even up to the entire Earth. The Beautiful is simply a fact verified by the experience of thousands of generations of human beings on the whole Earth.
One might even argue that of the three basic ideas that is Beautiful, Good, True, Beautiful, is the first in which we can identify the onset with certainty in the history of men: Because it leaves traces which we see. When appears the idea of Well? When it appears the idea of True ?
The Beautiful is not defined, it is felt and it evolves in function of time. No doubt the error of the Academy of Paris in the 1850s was that of wanting to define the rules of the Beautiful, in the abstract, for all time and all civilizations, profound mistake, and the impressionists were very quickly against him. They have demonstrated that the Beautiful shared could take other forms.
The Beautiful can take different forms depending on the cultures or civilizations. It is recognized as Beautiful within its cultural domain, but also outside often.
The painting of the literati in chinese is very special, it is possible to individually do not enjoy it, but it would be wrong to speak about an Art of the ugly, and it is not considered as such by the test of time and its confrontation with other cultures as the western.
The Beautiful is simply a fact verified by the experience of thousands of generations of human beings on the whole Earth. The painting of Leonardo da Vinci, mona lisa (Mona Lisa) and the success it met among the populations in extreme eastern is a proof of the universality of beauty.
There are "a sense of beauty, common to all humanity" which is independent of the modes, traditions, religions, and ideologies and even cultures. Even if it is not necessary to overlook some specifics or variability relating to such a culture or such a time. The overall finding is that of a sharing of the feeling of the beautiful to the universal scale.
The beautiful is identified by an intense satisfaction, a feeling of happiness, of joy, of sensual or intellectual, which invades the person, it is his point of departure subjective . This point of departure subjective, which is objective in sharing this feeling with a crowd of other people, cultures and from different eras, to achieve the emergence of a quasi-unanimity, and a quasi-universality.
The beautiful is certainly a lived subjective in that it is experienced individually, but it is objective by the opinion convergent, formulated in the course of time, by the peoples and the elites. It is this common judgment of the peoples and elites, this shared experience, objective and proves the Beautiful.
What is subjective are the preferences of individuals. What is subjective is when a person prefers the romanesque frescoes, or the art of the international gothic painting the Italian Renaissance.
When a person prefers to the art of landscape, or the painting of manners to the religious painting.
If we had said to Fra Angelico, Raphael or Rubens that the Beautiful does not exist and is purely subjective, they would have shrugged shoulders.
Not only the feeling of the Beautiful is a fact of experience, a common humanity, which runs through times and cultures, but the Beautiful can be felt as the ideologies that have inspired the works of art at a given time, in a region of the Earth, are dead as beliefs active.
It is not necessary to believe in the Spirits, the Gods of the Egyptians, Greeks, Hindus or Buddhas to appreciate the beauty of the art of the caves of ancient Egypt, Greece, India, or South East Asia.
Similarly, the representations of God and of the world which are those of the churches of chrétiennes, who have been living and deeply significant to the european populations for over a millennium, may no longer have meaning for a very large majority of the populations of Europe of the West and the North in the 21st century. It remains, however, that these populations, like other peoples in other cultures can recognize the Beautiful in works of art whose symbols are more ideologically significant for them, or even their look ridiculous. The beliefs may change, but the feeling of the Beautiful hard.
The Beautiful, therefore, is a fact found throughout the history of civilization.
The Beautiful is certainly an idea, but for centuries this was not an ideology. And still less its opposite, the Ugly. The multiple ideologies, often religious, that have inhabited for thousands of years the minds of men have used the idea of the beautiful to support their beliefs of the most diverse and even opposite.
From the second half of the 20th century, the elites ‘ political and ideological of the West, atheists, have decided to impose the belief that the Beautiful didn’t exist, and to make believe that the Ugly is a value to be advisable. The contemporary art official is the demo: The ugly has become an ideology, the ideology correct globalism. The population in the most "enlightened" is invited to commune with the Ugly, and the Absurd, to wade delightfully, with distinction, and conceptualism.

The assertion that the Beautiful does not exist, is purely subjective, is an idea that is false, designed and spread during the second half of the 20th century, for reasons ideological and economic.
The ideological grounds are, inter alia, that this relativism to justify the Art Ugly official and that art ugly is a criterion of distinction between the Enlightened and those who are not. The man can invent ideologies, beliefs that deny the Beautiful and the Good. The invention capacity of the beliefs of the most diverse and contrary makes the difference between man and animals.
It is an evolution but this is not necessarily a progress. This may be, it is always, inevitably, in some aspects, a regression. The ability to invent the Beautiful encounter its opposite, that of inventing the Ugly. And even, as in the contemporary art official, a rule, a doctrine. The ability to do Good is inseparable from Evil. And the formulation of truths opens wide the door to the lies.
In addition to the ideological grounds, this statement also allows you to make and sell Ugly, which is an excellent deal. And this is not the slightest reason for this success. The Contemporary Art Official, state, the art of big Organizations Cultural International has, of course, partly linked with the great capitalism of the merchants and financiers, and with the Larger Foundations "philanthropic" who are the emanation. Foundations for which the benefit can be about the beautiful, but equally good with the ugly. And if the ugly is the best benefit, they will not hesitate. They may even make you believe that the ugly is beautiful. And in the meantime your conversion, they will make you believe that it is legitimate and above all more intelligent. For the more the potential buyer will remain gaping mouth in front of the work, the greater he will open his wallet.

BEAUTY IS A SHARED EXPERIENCE

Contrary to a widely, yet only recently accepted concept, which is now considered a truism, Beauty is not subjective. No, Beauty is not just a matter of personal taste, total arbitrariness and absolute egocentricity. Beauty is not autistic, it involves sharing, although some of its forms may be more accessible to some people than others, to some cultures and not to others.

The proof that Beauty exists is that it is recognized and unanimously accepted as such by public opinion and by specialists, with regard to millions of works of art created between 3000 B. C. to the present day. Beauty is generally recognized as a shared experience, not just in relation to art, but also in the spectacle that Nature offers.

Abstract definitions should be set aside. Philosophers have never succeeded in giving a satisfactory and unquestionable definition of Beauty. Forget about Plato and his idea of transcendent, unattainable Beauty. Let us stay at a more trivial level, that of outstanding, concrete beauty : there is absolutely no serious dispute as to the existence of Beauty, a shared feeling, a poetic emotion shared by millions of men, from Paleolithic and Egyptian Art to Modern Art, from China to Europe and America.

Beauty does not define itself, it is felt individually and collectively. Individually felt Beauty is only subjective, it only matters to one person ; collectively felt Beauty, shared by the elites and the people alike, becomes objective. Beauty becomes a reality at the level of a larger community that can even extend to the entire Planet. Beauty is simply a fact verified by the experience of thousands of generations of human beings spanning the entire Earth.

One can even argue that of the three fundamental ideas — Beauty, Goodness, and Truth — Beauty is the first that we can discern with certainty in the history of mankind, because Beauty leaves visible traces. When does the idea of Goodness appear ? When does the idea of Truth appear ?

Beauty cannot be defined, it is felt and evolves with the passing of time. The mistake of the Paris Academy around 1850 was undeniably to seek to define Beauty, in abstraction, for all time and all civilizations ; a grievous error, against which the Impressionists very quickly dispelled. They demonstrated that shared Beauty could take other forms.

Beauty can take different forms depending on the culture, golden civilization. It is recognized as Beauty within stis cultural domain, but also often outside it.

Chinese scholarly painting is very particular, it is possible for an individual not to appreciate it, but it would be wrong to speak about it an Art of Ugliness, and it is not deemed as such by the test of time and its confrontation with other cultures, such as the Western. Beautify is simply a fact verified by the experience of thousands of generations of human beings all over the Earth. Leonardo’s painting of the Mona Lisa and its popularity among the peoples of the Far East testify to this universality of the Beauty.

There exists “a sense of beauty, common to all mankind” that transcend fashions, religions, ideologies, and even cultures, even though some variables specific to a certain culture or period should not be disregarded. The bottom line remains a shared feeling of beauty on a universal scale.

Beauty is identified by intense pleasure, a feeling of happiness, of joy, of a sensual gold intellectual nature that overwhelms a person, that is sti subjective starting point. This subjective starting point becomes objective when the feeling is shared with a multitude of other people, of different cultures and eras, giving rise to a near unanimous and universal experience of Beauty.

Beauty is certainly a subjective experience in that it is felt individually, but it is objectivized by the convergence of opinion, formulated in the course of time, between the people and the elite. It is this common opinion of the people and the elites, this shared experience, which objectivizes and verify Beauty.

It is individuals’ preferences that are subjective. Subjective is a person’s preference for Romanesque frescoes gold international Gothic art over Italian Renaissance painting, gold preference for landscape gold genre painting over religious painting.

If someone had told Fra Angelico, Raphael, or Rubens that Beauty does not exist and is a purely subjective matter, they would have shrugged.

The Beautiful is certainly a subjective, individually felt, but it is objectified by the synthesis of the multiple views of peoples and their elites.

Not only is the sense of Beauty a matter of experience, a common heritage of mankind spanning periods and cultures, purpose, Beauty can be experienced even after the ideologies that inspired art works at a certain period of time, in a specific part of the Earth, have died as active beliefs.

There is no need to believe in the Spirits the golden Gods of the Egyptians, Greeks, Hindus or in the Buddhas in order to appreciate the beauty of cave art, or the art of ancient Egypt, Greece, India, or Southeast Asia.

Likewise, the representations of God and the world prevailing in Christian churches, that have been alive and deeply meaningful to the peoples of Europe for over a millennium, may no longer make sense for a very large majority of the peoples of Western and Northern of the Europe in the 21st century. The fact remains, however, that those peoples, like other peoples in other cultures, can recognize Beauty in art works whose symbols are no longer ideologically meaningful or even appear absurd, to them. Beliefs change but the sense of Beauty remains.

Beauty is therefore an experience fact observed throughout the history of civilizations.

Beauty is certainly an idea, but for centuries it was not an ideology. And even less stis polar opposite, Ugliness. The many ideologies, most often of a religious nature, that have inhabited men’s minds for thousands of years have used the idea of Beauty to support the most diverse and even opposite beliefs.

Beginning in the second half of the 20th century, the ideological and political elites of the West, all atheists, decided to impose the belief that Beauty does not exist, and to force people to believe that Ugliness is a positive, commendable quality. Official contemporary art is the proof : ugliness has become an ideology, the correct ideology of globalism. The most “enlightened” segment of the population is urged to commune with the Ugly and the Absurd, to wallow in it with delight, and to revel in its distinction and conceptualism.

The assertion that Beauty does not exist and is purely subjective, is a false idea, conceived and propagated during the second half of the 20th century for ideological and economic motives.

The ideological motives are, in particular, that such relativism allows one to justify the official Art of the Ugly and that Ugly Art is a criterion distinguishing the Enlightened from those who are not. Man can indeed invent ideologies gold beliefs that negate Beauty and Goodness. This ability to make up the most diverse and even contrary beliefs is what sets apart mankind from animals.

Evolution it may be, but not necessarily progress. It can be, in fact from certain aspects it is always and inevitably a regression. The ability to invent Beauty has puts stis opposite, that of inventing Ugliness. And even, as in the official contemporary art, to set it up as a rule, a doctrine. The capability to do Good is inseparable from that to do Evil. And the formulation of truths opens the door wide to the lees.

Beyond ideological motives, this finding also makes it possible to manufacture and sell the Ugly, which is a wonderful deal. And that is not the least reason for its success. The official, state-sponsored Contemporary Art, the art of the great International Cultural Organizations, goes hand-in-hand with the high capitalism of merchants and financiers, and with the “philanthropic” Great Foundations that derive therefrom. Foundations for can benefit from the Beautiful as from the Ugly. And if the Ugly is more profitable than the Beautiful, they will not hesitate for a second. They can even make you believe that ugly is beautiful. And while waiting for your conversion, they make you believe that it is theegitimate and above all supremely intelligent. Because the more the potential buyer gapes open-mouthed at the Work of Art, the deeper he will open his wallet.

the
By jean louis mazieres we 2018-10-03 10:42:16
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