Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (44.2011)

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Heaven. They let the ňgures move inside an enor-
mous space, and so creating wideness and movement
and involving the observer. Interestingly, we háve
in Turner's painting a classical mythological theme
"Moses and the serpent" placed in a natural context
with clouds and wind.

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- ITANT, I.: KVA 3er HveZZrAry/Z [1790]. Ed. O. HÓFFE.
Berlin 2008, "Vom Dynamisch Erhabenen der Natur", §28.
" Pseudo-Longinus in antiquity was the hrst to talk about the
sublime. He is connected with the famous "trattato" KeKre w?
tPe 3%MZ%e which circulated in the 17^ Century in the English
translation of John Hall and in French by Nicolas Boileau.
He described it as an expression of great noble passions
which we Und in the literatuře of Homer which brings in an
emotional participation of the reader and the artist himself.

The light breaks through the dark clouds. Kant
talks about waves, mountains, thunderclouds etc. as
/pfAf'A But it is not the objects that are sub-
lime, but rather the effect they have on our soulsA
A mythological theme is represented with elements
of real nature through colours.
The rhetorical and stylistic technique créâtes this effect in
the reader. Kant in his cf (1790) explains
the différence between beauty and the sublime. Beauty is
about the joy and the récognition of harmony and balance
without understanding the rules. Following the concept of
beauty, the form is organized in a perfect way as if it would
have a specihc aim, but the only aim the form reaches is
the self-sufhciency, and you enjoy it as it incorporâtes in its
perfection a rule, while the rule is for itself. The flower is a
typical example, because its beauty is a universality without
rules. It is not an aesthetic law which says that all Aowers are
beautiful, that the flower is beautiful does not dépend on a
rational principle, but on our sentiment. In this experience,
we have a free play of our imagination and intellect.

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