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Metaphysical Aesthetics

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Metaphysical concepts relate to the ideas of transcendent and universal elements that surpass the human interactions. They aim to explore notions that humans have yet to comprehend, or have merely touched on in order to provide an understanding of what lies beyond the physical world. Aesthetics aims to explore questions relating to the natural world, beauty and art, and the intertwining of each. Therefore, in conjunction with metaphysical concepts, these two branches of philosophy explore the transformative and distinctiveness of art and what distinguishes something as art. These ideas highly conflicted with modern scientific knowledge as they were based on theories and concepts in comparison to reliable experiments that resulted in tangible or viewable proof. In relation to naturalism many are compelled that only what is seen and touched or scientifically proven can be true, and in saying so, can be meaningful to humans.

What is Art?

Art can be seen or heard through forms such as music, architecture, paintings, literature, plays and so forth. However, many critics state that humans are too caught up in works of statutes, song and dance to ever notice what lies beyond the surface of this diversity, the one identical reality: art. Works of stone altars from the third, second and first B.C. of Italian origin are often established as 'a work of art,' however, in stating this, one employs the idea of art in a contemporary society. Two conclusions are drawn from this in which concern the character of art and the nature of the theory of art. The artists naïveté in their piece is essential in classifying the finished work as 'art.' An artist cannot begin a work with the intention of it being art, nor can the artist determine whether the completed work is art, it must earn a social prestige from the population. Once the artwork has been recognised as art, the artist can no longer approach their work naively as they are aware of its significance. An artist is unable to begin a piece with the intention of creating art as they lose the indelible feature of art, naïveté. In other terms, intellectual clarification and artistic creation proceed on two different planes of mental activity, in general one would link action with intellect. However, in this case, the artist's heart is wiser than the mind, therefore, they must relinquish this state of mind in order to not define the directing purpose of the piece.

Plato's Theory: Art is Imitation (Mimesis)

The idea of art being an imitation was present during the Renaissance, when Vasari had said, "painting is just the imitation of all the living things of nature with their colours and designs just as they are in nature." However, Plato's theories on this topic further explored the idea that art imitates the objects and events of ordinary life. In other words, it is a copy of a copy of a form. Therefore, works of art are either for the joy of entertainment or an illusion. Contrastingly, Plato's other theory talks about how an artist may have the power to create an artwork truer than the copies of the form. In works with Socrates, the pair discovered the idea that one may be called upon by a higher, divine power, and is gifted with the ability to create art. This was established in Socrates questioning of a poet named, Ion. Ion was able to recite the poems of Homer, however could not recite anything else. Socrates questioned this as, logically thinking, if Ion is able to recite poetry, then this knowledge should be applicable towards all forms of poetry. Therefore, Socrates classified the notion as inspiration from the Gods who allowed Ion to only recite Homeric poetry. Plato was not entirely convinced of this idea of an artist being divinely inspired, however, this theory has become evident in the present day and is believed by many individuals.

Faults in Plato's Theory: Art is Imitation

Although Plato's theory is plausible for works of paintings, sculpture and drawings, it does not account or give reason for other forms of artworks. The art of music does not apply to the idea of imitation as it is originally created by the artist. However, Plato spoke about music being an imitation of ones emotions and being a way of representing natural sounds, yet many believe this to be a far stretch in his theory. Plato's theory of Imitation only began to fade during the nineteenth century, where imitation began to fade from western aesthetics to theories of art being a form of expression and communication of ones emotions or aesthetic needs.

Aristotle

Aristotle has similar beliefs in Plato's theory of imitation, however, the difference between them was Aristotle's belief in the, 'unmoved Mover,' which is pure Form, whilst Plato believed that Forms were the true reality and that the world were copies of them. Aristotle similarly believed that art involved imitation, thinking more in depth as to what form of art people decide to imitate. For instance, Aristotle stated that Tragedy is an imitation, "not of persons but of action and life, of happiness and misery."

Art as a Form or Essence

Art is understood as a non-purposive activity. It is tied to the stigma of being a form of entertainment, not among one's purposes, yet as a respite from purposes. However, respite from purposiveness is likewise a purpose, therefore art in itself is a purpose.