of the structure of aesthetics theory, the rules of pleasure and beauty with a critical approach
RezvanAuthor:
Ahrar, M.D, Art Research, University of Guilan, Rasht, Iran.
A comparative study of the structure of aesthetics theory, the rules of pleasure and beauty with a critical approach
AEmail:rezvanahrar@gmail.comcomparativestudy
Abstract
The aesthetics of objects and works of art have form with different aspects that are formed in different aspects and are known in the thoughts of experts of the eighteenth century to the modern era with aesthetic concepts. That's why they all have aspects. Works of art are directly related to each other. This research is a qualitative method with a critical approach, why and based on what reasoning and inference; They have achieved the pleasure of beauty. If every thinker in his philosophical system offers an opinion on aesthetics and beauty, how can that opinion and judgment be invoked? In this article, the concepts of the existential elements of works of art are mentioned; Philosophical scholars have combined these concepts with the concept of aesthetics, and their rulings on aesthetics and the pleasure derived from them have been adapted. This research has made available with a comparative and critical approach to their relationship and how to measure aesthetics without pleasure. Hence the why and how of pleasure, which thinkers have given to the spread of beauty. And the relationship between pleasure and aesthetics, as well as the relationship between beauty and the geometry of aesthetics defined in this article, is discussed. Aesthetic geometry and trying to separate beauty from pleasure has become a measure of beauty.
keywords: Aesthetics, Geometry, Mania, Aefcharis, Form, Consent [Pleasure]
Introduction
If living nature, artificial objects, and works of art are signs of existence, in other words, they are works of art and, in the act of actualizing the experience of the ideal essence, have the characteristic of decoding, Theoretical views of the beautiful have had various consequences It was probable that the philosophical ideas of aesthetics did not float among the unmarked paths, and that thinkers and experts did not choose the path of passage on the basis of probability, or did not stop in the midst of it. In his general philosophy, Kant is a symbolic representation of this frustration with the world, which, contrary to the call for protest, has sanctified art. At the same time, by analyzing the artistic behavior in the critique of the power of judgment, they begin to critique the logical foundations of the theoretical view of art. He gives a description of the specific (neither conclusive, and of course not argumentative) nature of aesthetic judgment. After this description of Kant, in judging the aesthetics of cognition, only the concept is deduced that he knows the right, correct and direct path, but it takes a side step, at the same time proving the impossibility of any doctrine of the beautiful. The application of this theory in the arts confirms the cognitive invalidity of any philosophical doctrine based on a definition of the nature of art. Aesthetic discourse is limited to the critical evaluation of works of art and the study of their phenomenological structures. Of course, if we interpret aesthetics with the concept of philosophers of the 18th century onwards, this will be the case. By defining art, the theoretical view claims the essence of art and has considered its ideals superior to other ideals by describing idealism, for this reason, in Hegel's aesthetics, discourse is the negation of the judge, a discourse that explicitly expels all literary and artistic forms that it considers impure or unoriginal. In the theoretical view of art, admirable speech is placed in the position of analytical description of artistic data, yet the judgment of objects reveals the aesthetic experience. It is clear that the philosophy of art has not been provided in this regard, but the result is nothing but a rupture with the various arts and natural forms. Turning to the surrealist view in the philosophy of art, the paradigm will be adapted to the different and pluralistic realities of the arts and artistic acts, and with this contrast, which art and which work is more important than it and this art and work will be defined and explained indefinitely with the end of this sensitivity in aesthetics. By refining faces that contain content covered by the nature and thought of supernatural science, understanding and determining the character of pleasure has been neglected, and some theorists have emphasized the transfer of emotion / feeling from one person to another rather than an index expression (Tolstoy, 1960) In the world, something has replaced and will not replace anything else. Art is no exception. Art has been the subject of revelation in various fields and has also elaborated and developed them, but it will not be able to be in the position of interpretation, interpretation and reflection. This will not have a negative effect on the appearance and power of art and the essence of art. The arts become such a source of pleasure that no one or thing could resist it. Distinguish between the meanings of beauty, when it is synonymous with aesthetic value in general, and when it is imposed on a class and species of this kind of value that is generally considered in contemporary aesthetics. Beauty, in the first sense, is often used to describe a brief perfection of a work of art with an aesthetic theme, so beauty does not imply a feature such as appropriateness, but it is more than a "term of approval.".
Research Methods this research, the research method is comparative with critical; And qualitative and fundamental information analysis. Based on comparative studies with critical critique of aesthetic geometry and critique of comparative rules of aesthetic pleasure, it has been critically studied and researched. The process of gathering research information has been done through documentary methods and library studies using various sources. It is also taken from reputable domestic and foreign sites along with books on philosophy of art and aesthetics and history of aesthetics. problem statement Based on the study of the history of aesthetics from ancient times to the present day and comparative studies of the theories of theorists, opinions that theorists on aesthetics have similarities and contradictions, but what is certain is that experts have tried to discover the concept of aesthetics and to define the beautiful and to judge aesthetics. The question that arises is why did all the theorists introduce the word pleasure in the matter of beauty and aesthetics and use the word pleasure in order to define aesthetics and the matter of beauty? If not, how can one judge for aesthetic judgment? The theoretical test of the opinions of thinkers, in the philosophical system and their interpretive model proposed by researchers and scholars, has only provided the possibility of expanding the views of theorists, Explain with the term "sensory knowledge"
Baumgarten, who coined the term "aesthetics," intended to describe poetry (and indirectly in the case of all the arts) as something that requires a form or order of partial knowledge "sensory knowledge." He began with Descartes' distinctions (principles of philosophy xliv xlivi, I) between clear and vague concepts, and between distinct and dubious concepts, which were later explained by Leibniz (Discourse on Metaphysics, xxiv). Sensory data is clear but dubious, and poetry is "emotional speech," that is, speech in which such intellectual perceptions are intertwined in a structure. It is a discourse in which such intellectual perceptions are intertwined in a structure. Baumgarten's book and its formal inferential method with definition and etymology, The focus is on the fact that seemingly precise Cartesian topics can be discussed on topics that seem less appropriate for accurate and logical discussion.
In this article, in the first place and after examining the discourses, the treatises of experts in the categories of aesthetics, aesthetics, judgment and measurement, the quality of recognizing beauty and its effects and rulings are reviewed. And in the secondary valley, those cases are dealt with additions in the shell of the mentioned cases and the actuality or inactivity of the opinions of aesthetic thinkers. As can be seen in cases where theorists are on the path to aesthetics, and reaching their destination, but they only discover the house of beauty; But beauty itself is still hidden. In their judgments and experiences, they consider the home of aesthetics to be the same as beauty. Baumgarten, who coined the term "aesthetics", intended poetry (and indirectly in the case of all the arts) as something that requires a form or order of partial knowledge.
The issue of aesthetics
1- A comparative study of aesthetic and aesthetic theorists (Plato, Kant, Hume and Hutson) 1 1
If a work of art is said to be "beautiful" like a painting or has aesthetic value, this work of art shows a subject, it has a well composed appearance, it is in a certain style or it expresses an emotion; But aesthetics in addition more broadly to the aesthetics of nature (Budd 1996; Carlson 2000) and with the understanding of the aesthetics of objects and practices of everyday life (Dewey 1934). Thus, creativity, expression, representation, form and style are issues that can be discussed not only from the perspective of the observer but also from the perspective of the artist Some of the most difficult topics in aesthetics are directly related to issues in general philosophy. Why do people emotionally interact with imaginary characters? This question may seem specific to movies and novels (Lamarque, 1996), and why people enjoy tragedies is not specific to tragedy but to the question itself. From the question of why people listen to sad music if they are sad (Levinson 1990)
If aesthetics is a philosophical discipline, then it must have principles that explain the rules of aesthetics. Thus, in the 18th century, we see that we ourselves (the observer) turn to aesthetics, which is considered in the horizontal incompatibility in terms of justifying the aesthetics in the observer. British empiricists established aesthetics as a discipline. Empiricists have hypothesized that the precepts of aesthetics depend on the subjective sense of pleasure and reject the criteria of beauty. But it must be borne in mind that the rejection of the criterion will itself be based on the criterion, and empiricists must also assume that any non standard assumption has a definite standard nature.
Is aesthetics a particular kind of pleasure, or more generally a particular kind of experience, a certain kind of judgment, a certain kind of approach to the world, or a certain kind of aesthetic quality? Hence, it can be seen that some of these points are not enough. And this rhythm of logical interpretation and analysis of aesthetics by experts has been a lame rhythm since the 18th century. This rhythm of interpretation, despite being constructive and executable, is also unique; But it is free from the nature of the visual arts and even natural forms. Thus, this movement also proceeds in a single unity that forms the internal structure of this rhythm. But thinkers have presented discourse in the existing lame rhythm in order to gain one sided opinion. In the matter of eighteenth century aesthetics, in the concepts of aesthetics, the nature of aesthetics, the content of the term aesthetics, the rule of taste appears, to which answers have been given. Also, the correlations of the requirements of the problem have been examined and it has been eroded. The increasing explanation of the verdict of taste from the precise hypothesis, which contains partial reflections, was extroverted, which led to the moderation of aesthetics.
1-3- Theories and answers of Kant and Plato
What state of pleasure or what kind of judgment is issued when man judges beauty? And why should such a pleasure of beauty be issued that the recipient is the only observer? To examine and answer this question, we refer to the theory of Hume and Hutson.
1 2 Hume and Hutson's theories and answers
Kant has been considered the main source of formalism, and formalism refers to the idea that most or only aspects of a work of art are its formal quality and are not aesthetically related to the content. But Kant has not taken into account the fact that its desirable beauty for the feeling of the observer after the revelation of the content can undoubtedly be restored, exalted and reduced.
Hume and Hutson provided two answers that are adaptable and corresponding to parts of each other. The classic idea of "unity in diversity" It is a feature that authentically evokes aesthetic pleasure (Hutson, 1725), and another theory that emerged after Hutson It is that we are all created to enjoy a single species of creatures of nature and works of art (Hume, 1759), But not everyone's nature is the same. The sense of beauty is the power of aesthetic formation that is appropriate to evoke that sense when confronted with the qualities of objects. The sense of beauty does not depend on judgment and reflection (Hutson, 1725). His analysis showed that beauty is felt in an object when it offers "a combination of uniformity and variety." For Hutson and Hume, the rule of aesthetics is the pleasure of ruling that something is beautiful This phrase can have two meanings, whether they mean ruling beauty or being beautiful is a pleasure. The issue of the need for criteria for taste was a major concern of David Hume's reflections on aesthetic issues. Hume said in his treatise (II, i, 8), "Beauty is that an order and structure of the components, whether through the basic structure of our nature, or through habit, or through lust, is so proportionate that it gives pleasure and satisfaction to the psyche." For example, the manifestation of convenience or benefit (not necessarily its actuality) explains why many things are considered beautiful, Therefore, some types of beauty are simply seen or overlooked (Hume, 1751). Hume believed that certain judges could be identified as having a particularly credible taste, and then their subjective / subjective reactions to the subjects could be used as criteria for evaluating the subjects. When such arbitrators issue what Hume calls a "joint verdict," and it probably means that they have a consensus on the enjoyment of an issue, then the enjoyment of that issue goes to one. Meaning, at least with normal probability, is established and established as the correct practice, and any judge who does not understand this pleasure has a flaw in his taste.
The answers derived from Kant and Plato's theories of explanation are different from those of Hume and Hutson; and Kant's view can be more directed towards Plato. For Kant, though, judging taste is based on subjective pleasure, but pleasure is without purpose, which is obtained from the free play of imagination and understanding. Kant first describes the aesthetic rulings issued on natural subjects (his main example: A rose is beautiful), and then he generalizes such rulings to works of art. Thus, in practice, he has considered successful works of art (which to him mean subjects of industrial beauty) as the place of such rulings. And for Plato, only beauty is beautiful Everything else is beautiful only in one direction or another, or in comparison with one thing and nothing else.
If the observer becomes aware of immoral content or any content that is not in line with the observer's feelings and also the existence of the form, The contentless form interpreted by Kant and aesthetics will be able to transfer from pleasure to sorrow by issuing the pleasure of pain. Beardsley's theory is more thought provoking, stating that works of art are designed to provide aesthetic experiences (Beardsley, 1958), It is more likely to believe that moral value is irrelevant to aesthetic value. Because, according to him, beauty is the only effect in the field and it is not relevant to the quality of beauty, which is a continuation of the path of beauty pleasure, The competence of these descriptions included in the term art can be defined as "meaningful form" (Bell, 1914) Hobbes also believed that the thought "strings" of the mind are guided by the general principle of association of meanings.
2 Small Criticism of the critique of the power of judgment
The object or work of art may be the object of pleasure, taste, interest, etc., but it does not carry any of the types and qualities of aesthetics; This theory appears in opposition to the theory
The sublime, beauty, and aesthetic quality are not generally the attributes of objects; They are the felt effects of rulings that give thoughtful perceptions about the form and content of their experience (Kant, 1790). Kant described aesthetic experiences as the experience of pleasures associated with situations in which one dictates that something is beautiful. Kant, on the other hand, believed that no confirmation of a person's judgment was possible, because it was logically irrelevant to accompany or react to other judges. Is the verdict fair? Because prosecutors, judges and lawyers; All three of them are standing in one place, in fact they are pursuing an indefinite end in a paradigm and their destination is the same, so the verdict has no capability and value of an aesthetic verdict, so no verdict has been issued. Like an artificial rose that is like a rose but has no fragrance. Hume and Kant take it for granted that all relevant rulings are beautifully derived from the judge's sense of pleasure
3 Aesthetic, AEFCHARIS (Recognize pleasure), Geometry of beauty
There is another view in Kant's theory that the non subjectivity of content is aesthetically accepted, Hence, they believe that the content (meaning / element of existence) creates the face of the artist. In the same way, the observer creates the content structure with passive characteristics and with a coordinated force in reason and imagination. That is, the observer creates content and the role of imagination in the art that governs art (Kant, 1753: 187). Therefore, it can be acknowledged that if the rule of aesthetics is to be considered as an indicator of the quality of an object, It may not be just beauty and the vast superiority of aesthetic qualities. For formalists, the value of art is probably the value of pure aesthetics, the provision of aesthetic pleasure, or the pleasure of aesthetics (Bell, 1914). Comments on the value of art depending on what I know about the main features of art (Bud) Is different. Theorists consider the expression of the value of the arts as their ability to describe the artist's feelings (Dewey, 1934). Burke has done philosophical research on our perceptions of beauty and transcendence, and so has the transcendent argument for beauty. A clear example of a sense of beauty is the reaction to feminine beauty minus lust, and objects that are small, delicate, with subtle changes, etc., can give us a sense of beauty (III, 1 16)
in question with the lack of existing features, but it has all the aesthetic features of personality, geometry of aesthetics of human nature. Many examples can be found in everyday beauty judgments, works of art and even the aesthetics of nature. It seems with a different view than the view of past experts on such things as qualities, pleasure, rules and taste in aesthetics, it is possible to reject the foundation of all the rules, qualities and experiences that are attributed to aesthetics. In this regard, it is possible that aesthetic thinkers in the analysis of this category neglected several characteristics of objects and works of art. Indicators such as 1- Mania 2- Geometry of measuring beauty 3 The category of time in the quality of beauty is for pleasure With this interpretation, pleasure has no place in aesthetic discussions, so the ruling on beauty pleasure and judging beauty based on pleasure is rejected. Arthur Schopenhauer does not use the term "aesthetic approach". Schopenhauer, who followed a different path from Kant, believed that viewing works of art was an activity in which one could break free from the usual shackles of one's will. 3-1- AEFCHARIS (Recognize pleasure)
evidence for this claim is the instability of pleasure; If we consider pleasure as a product of beauty, and with the role of natural or artificial beauty or works of art that set foot in the realm of immortality, The pleasure emanating from beauty must also be constant and unchanging. AEFCHARIS (recognize pleasure) is the product of aesthetics, in the daily life of the common people, naturalists, art experts and aesthetics experts and philosophers of art and its critics; After being in the challenge of time, without the knowledge of changing the amount of pleasure to the pleasure, receives descending capability "A man cannot swim in a river twice, because the second time neither that man is the previous man nor that river is the previous river."
The second reason for this claim is the recurring challenge of seeing works of art or natural objects of pleasure. For example: Mona Lisa painting by Da Vinci; If an artist has never been able to see it, to see it closely, it may have a very pleasing and pleasure effect on that person. Now, does this work of art, which has had such an impact on that artist (who oversees the painting), have the same impact on the Louvre's staff (he may even be a painter) that he sees this painting every day? If the effects were based on beauty, it would not change, but since these effects are AEFCHARIS (recognize pleasure), they can be easily changed. Hence, it is concluded that AEFCHARIS (recognize pleasure) is not created by aesthetics. Rather, this pleasure is in the form of a work of art, and it is the form that gives pleasure, not beauty. Such analysis for natural pleasurable objects may also be a factor in measurement and feeling.
The argument for presenting this seemingly unstable thing is that it is based on reality, and with popular sampling we can navigate the research path of this theory, the aesthetic theories that have been left to us from ancient times to modern times (To examine and clarify the critical approach) will change the so called hedonism (AEFCHARIS, which is derived from the Greek word: Ευχαρίστηση). The theories of Kant and his followers on the pleasure and the rules of AEFCHARIS (recognize pleasure) are based on inconsistent conformity. Of course, if there is no expectation of the release of another element of pleasure. Similarly, Hutson and Hume in their judgment theories to reach a definitive answer that is out of the hypothesis, to achieve a teaching principle in the sense of pleasure, they had to adapt those theories to recognize pleasure (AEFCHARIS).Thefirst
3 3 Aesthetic geometry in quality and measurement
This view of aesthetics for judging, contrary to Hume's opinion that he had asked for help from experts and walked in the form, it does not require any expert or art historian or naturalist. Assuming unity while diversity in an object, beauty is necessarily present and is not required for pleasure. It is also true that the beauty of an object can be determined by proving that the object has an inner unity, provided that it can be ascertained that these two properties, in all instances, coexist. Hence the question of why not all objects and works of art look beautiful? If we say that everything is beautiful in nature, here we completely turn away from the pleasure that comes from the external form and put it aside and turn our attention to true beauty. To answer this question, we must step into the field of aesthetic geometry and examine how to judge and measure beauty based on the internal facial geometry of the concept of the beauty of objects and works that is born
3-2- Mania Now the question may be asked, then what is the effect of beauty? or with this interpretation something called beauty is impossible? and what is the feeling of beauty that we feel? and if it is a fact, how is it diagnosed and judged? to answer these questions, the first thing to consider is that Plato saw beauty as a constructive feature of things. so beauty can be understood independently. At the same time, the promise that beauty is indefinable means that the nature of beauty cannot be defined in a conceptual way and therefore in language understandable to all. As a result, the epistemological certainty and stability of the definitional theory may be lost Plato was sufficiently aware of the possibility of uncertainty and disagreement between the precepts of beauty (Laws BK.II). Explaining the inherent beauty of Phillips repels these dangers. Things are inherently beautiful, precisely because they are "always beautiful in their very essence." (51 C D), Therefore, mania replaces Aristotle's theory of forms and by considering the characteristic of mania (Mania) to reach the category of aesthetics that must be considered, The passive element, which was the attribute of absolute pleasure and emanated from the existence of beauty (according to 18th to contemporary thinkers), would reveal the argument that pleasure is an element completely separate from beauty and only with a short sightedness and lack of study of the aesthetics of antiquity can it be considered a product of beauty. What completes the movement of desire in the form of stillness in the object of desire is called pleasant, and beauty is something that is pleasant to look at (Thomas Aquinas). Objects and works of art, if they have the power to issue mania, are beautiful, created from their nature, and will never diminish with the reasons for the reduction of pleasure that have been said, even if it disappears or is destroyed, it will still have its beauty and the issued mania will be endless. This theory is not from the point of view of the afterlife aesthetics, but is completely objective with worldly feelings, and the importance of imagination and the principles of balance and harmony are based on reason, Through the principle of equilibrium as described above, it seems possible to make aesthetics related to ethics. Such an argument also implies a literary work and reveals that the aesthetics of a literary work is based on the presence of harmony and unity or their absence, based on the element of truth contained in the literary work in question, the truths it seeks to express are given to the reader or listener. The more facts a literary work reveals, the deeper it becomes, and these facts are fundamental to the aesthetic nature of the work. This method is a tool to send a feeling of mania to the reader or listener.
The first argument for directing aspects of current aesthetic geometry is that there is a substance called intellect. 1 Aesthetic 2 AEFCHARIS (recognize pleasure) 3 Knowing someone or what is not, but it resides at that time. Mania arises from the first type, then from the second type, consent (satisfaction) is issued and the third kind of sorrow. It begins with Herbert Reid, who says: The face of any work of art is nothing but the shape and arrangement of its components and its visible aspect (Herbert Reid, 1931), There are many ways to analyze works of art. The material elements of a painting can be considered and studied separately and in relation to each other. These elements can be divided into five elements: weight (rhythm) line, face density, space, light shade, and color (Herbert Read, 1931). Here, three elements are added to these elements, which also include material, volume and texture, and their order does not correspond to the mind of the observer in terms of the sequence that is manifested in the mind of the artist.
The imaginary world in the imaginary world there is no characteristic corresponding to the unreal, but it plays a pivotal role for form in art and artistic taste.
One geometric measurement of beauty is created and another geometry of the observer who is capable of thinking. This geometry, on the part of the thinker, is the action of the rational world with the world of the mind, and the stronger this action becomes, the more regular the constituent geometry will be, and the more geometries will be made and processed in the imaginary world. Each geometry is bounded by a line, and the line must have its own weight in order not to be inanimate. If we define all the visual arts as something that is visually or aurally pleasurable, فhen to find the common denominator of the rose color with the church of Santa Maria Delphiore, Cognition will be reduced to the physiological factors present in the observer's nerves, but if we replace the garment of aesthetics with the garment of hedonism, no decline in cognition will be organized. Says William Blake: "The golden rule of art and life is this: The clearer, clearer and stronger the boundary line, the more complete the work of art; "And the less clear and distinct this line is, the greater the evidence of poor imagination and artistic and evocative eavesdropping."
with the facial geometry of mania. In the possibility of the action of the imaginary world, it is said: "The imaginary world is the mediator between the physical world and pure intellectual science."
There is another quality in the face and it can be interpreted in tone and maybe as a way of expressing the quality of the line. "I understand two things from your word," Ruskin describes your new painters in the book. First, the protrusion and precise relation of objects to each other and to each other in terms of their physicality and opacity (and gender), respectively the proximity and distance of objects, the complete relation of the shadow of all those objects to the main source of light; "Second is the exact ratio of the color of the shadow areas to the color of the light areas, so that they can be felt at different degrees of a light." This definition is not very clear, but like the line, the tone has the same force to produce volume in objects and is also involved in the ontological forms of gender (material) and texture and includes elements of facial recognition. Color is another element of form. The line also reveals to us the distinction, the weight and the rhythm, and with the help of the tone, the volume. Colors are in natural states, hints, variable, harmonious and pure. But the color in artificial works (works of art) is unchanged from any angle. We should not ignore the effect of distance, which, both naturally and artificially, is effective for the observer's sense of action. Does not specify the color of the form but will include the specification of the form, However, through the changes that are achieved in the purity of the color,
Conclusion In the theory of the opinions of aesthetic thinkers who consider pleasure as the product of the beauty; Some categories such as reducing the pleasure of the beautiful are ignored. Scholars have used the concept of aesthetics in the term aesthetics and also included the content of aesthetics in aesthetics. By examining different types of aesthetics and beauty, it is concluded that aesthetics and the beauty is a separate matter from pleasure and to measure and judge aesthetics, using the category of pleasure causes Error is judged and measured, And in order to get out of this mistake, we must use the geometry of aesthetics and how it relates to beauty without pleasure.
Another element that includes natural and artistic works; It is a form that includes two aspects, The absolute form and the relative form, the absolute form of the elements constitute the aesthetic qualities and the artist or the content of the work is not relevant in it. Rather, it is an independent form that signifies the outer essence of beauty. Plato, for example, considered the absolute and the relative or superficial form, and based on Plato's theory, this distinction can be used in the analysis of the visual form: 1 The absolute face is the face that is hidden in the nature of the aesthetic quality of objects and works of art 2 A relative or abstract form is a form whose hedonic quality is highlighted in living objects or artifacts as well as works of art, which are point, line, surface and volume.Ifthe geometry of relative form, like the geometry of beauty, has line, surface, volume, color, material, and texture, with the difference that this geometry agrees with the geometry of the individual's hedonism, this means that all its options are matched by the mental geometry that dictates pleasure. In contrast, in absolute form geometry, which is derived from aesthetics, these are the geometries of taste, imagination, mind and thought of the person that must be matched with the absolute form of the beautiful thing, and if the person flows all the aspects of this geometry, then he will be able to receive the element of mania from the beautiful thing.
but also through the arrangement of the strengths and relative weaknesses of the colors next to each other, the face with the characteristic of volume appears in it. "Color is created for the constant indulgence and expansion of the heart. The highest works of creation are in perfect color, and color is a clear sign of their perfection "(Ruskin). In this phrase, the constant expansion of the matched heart is a characteristic of mania in aesthetics.
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