By Kathleen M. Higgins, Shakti Maira, Sonia Sikka
This quantity examines the explanations in the back of rejections of good looks usually discovered inside of modern artwork perform, the place a lot seriously acclaimed paintings is intentionally grotesque and alienating. It displays at the nature and cost of good looks, asking no matter if good looks nonetheless has a destiny in paintings and what function it will possibly play in our lives in general. the amount discusses the potential “end of art,” what paintings is, and the relation among paintings and sweetness past their traditionally Western horizons to incorporate views from Asia.
The person chapters tackle a couple of interrelated concerns, together with: paintings, attractiveness and the sacred; attractiveness as a resource of pleasure and comfort; attractiveness as a bridge among the common and the human; good looks and the human shape; the position of curatorial perform in defining artwork; order and creativity; and the excellence among paintings and craft. the amount bargains a invaluable addition to cross-cultural discussion and, specifically, to the sparse literature on paintings and wonder in comparative context. It demonstrates the relevance of the wealthy culture of Asian aesthetics and the colourful practices of latest paintings in Asia to Western discussions concerning the way forward for artwork and the position of attractiveness.
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Extra info for Artistic Visions and the Promise of Beauty: Cross-Cultural Perspectives
How much neuroaesthetics will be able to explain about the beauty experience is debatable. How much does it really help if we identify the specific brain functions that are involved, and what, if any, the neural correlates are of aesthetic experience? I would however be interested to know whether the perception and experience of balance, harmony and proportion light up the same part of the brain. It would help to know if the same part of the brain becomes active when beauty is remembered or imagined.
Incidentally the work of all these artists, though employing new media continue to fall within the ambit of the beautiful, which to my mind ensures their survival in the future of Indian art. When the shake-out takes place, as it surely will, I predict a return to aesthetics. Human beings have an immense thirst for beauty, and though ugliness has been temporarily valorized by the cognoscenti, and also briefly by the glitterati and the art mart, a return to beauty is inevitable. In 3 Iconoclasm and the Demise of Aesthetics 39 saying this I grant that my prognostications may prove abortive but the extraordinarily beautiful work of Anish Kapoor gives me hope.
So there must be a common factor. ‘The common factor is in the brain,’ according to Prof. Zeki. ‘If you were to say, what is the common factor to the experience of beauty – whether it is a cathedral, a temple, or Mexican sculpture? The answer is that there is a part of the brain that is always active whether you are experiencing musical beauty of different types or visual beauty of different types. There is a common area which is active when we experience beauty. ’ He pointed out that of the list that I had mentioned,25 two-thirds were terms that apply to the area of the brain that is active Vandana Shiva is an environmental thinker, activist, physicist, feminist, philosopher of science, writer and science policy advocate.