DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0022
12
Introduction
When stable forms have been attained, imaginative development of
form in an imperfect technique may set in and in this case the will
to produce an esthetic result may outrun the ability of the would-be
artist. The same consideration holds good in regard to the esthetic
value of muscular movements used in song and dance.
The manufactures of man the world over prove that the ideal
forms are based essentially on standards developed by expert techni-
cians. They may also be imaginative developments of older stan-
dardized forms. Without a formal basis the will to create something
that appeals to the sense of beauty can hardly exist.
Many works of art affect us in another way. The emotions may
be stimulated not by the form alone, but also by close associations
that exist between the form and ideas held by the people. In other
words, when the forms convey a meaning, because they recall past
experiences or because they act as symbols, a new element is added to
the enjoyment. The form and its meaning combine to elevate the mind
above the indifferent emotional state of every-day life. Beautiful sculpture
or painting, a musical composition, dramatic art, a pantomime, may
so affect us. This is no less true of primitive art than of our own.
Sometimes esthetic pleasure is released by natural forms. The
song of a bird may be beautiful; we may experience pleasure in
viewing the form of a landscape or in viewing the movements of
an animal; we may enjoy a natural taste or smell, or a pleasant
feeling; grandeur of nature may give us an emotional thrill and the
actions of animals may have a dramatic effect; all of these have
esthetic values but they are not art. On the other hand, a melody,
a carving, a painting, a dance, a pantomime are esthetic productions,
because they have been created by our own activities.
Form, and creation by our own activities are essential features of
art. The pleasure or elevation of the mind must be brought about
by a particular form of sense impression, but this sense impression
must be made by some kind of human activity or by some product
of human activity.
Introduction
When stable forms have been attained, imaginative development of
form in an imperfect technique may set in and in this case the will
to produce an esthetic result may outrun the ability of the would-be
artist. The same consideration holds good in regard to the esthetic
value of muscular movements used in song and dance.
The manufactures of man the world over prove that the ideal
forms are based essentially on standards developed by expert techni-
cians. They may also be imaginative developments of older stan-
dardized forms. Without a formal basis the will to create something
that appeals to the sense of beauty can hardly exist.
Many works of art affect us in another way. The emotions may
be stimulated not by the form alone, but also by close associations
that exist between the form and ideas held by the people. In other
words, when the forms convey a meaning, because they recall past
experiences or because they act as symbols, a new element is added to
the enjoyment. The form and its meaning combine to elevate the mind
above the indifferent emotional state of every-day life. Beautiful sculpture
or painting, a musical composition, dramatic art, a pantomime, may
so affect us. This is no less true of primitive art than of our own.
Sometimes esthetic pleasure is released by natural forms. The
song of a bird may be beautiful; we may experience pleasure in
viewing the form of a landscape or in viewing the movements of
an animal; we may enjoy a natural taste or smell, or a pleasant
feeling; grandeur of nature may give us an emotional thrill and the
actions of animals may have a dramatic effect; all of these have
esthetic values but they are not art. On the other hand, a melody,
a carving, a painting, a dance, a pantomime are esthetic productions,
because they have been created by our own activities.
Form, and creation by our own activities are essential features of
art. The pleasure or elevation of the mind must be brought about
by a particular form of sense impression, but this sense impression
must be made by some kind of human activity or by some product
of human activity.