Journal articles: 'Beauty and art'

1

Stecker, Robert. "Free Beauty, Dependent Beauty, and Art." Journal of Aesthetic Education 21, no. 1 (1987): 89. http://dx.doi.org/10.2307/3332815.

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Janaway, Christopher. "BEAUTY IN NATURE, BEAUTY IN ART." British Journal of Aesthetics 33, no. 4 (1993): 321–32. http://dx.doi.org/10.1093/bjaesthetics/33.4.321.

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Chang, C. W. "Beauty and Art." Facial Plastic Surgery 22, no. 3 (August 2006): 180–87. http://dx.doi.org/10.1055/s-2006-950175.

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Gracyk, Theodore A., and Jon Huer. "Art, Beauty, and Pornography." Journal of Aesthetic Education 22, no. 2 (1988): 121. http://dx.doi.org/10.2307/3333134.

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Donagh, Enda Mc. "Beauty, Art and Theology." Irish Theological Quarterly 72, no. 4 (November 2007): 338–49. http://dx.doi.org/10.1177/0021140008088806.

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Grayson, M. "Beauty, Art, and Foreplay?" Science 306, no. 5701 (November 26, 2004): 1477a. http://dx.doi.org/10.1126/science.306.5701.1477a.

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Reitan, Meredith Drake. "Beauty Controlled." Journal of Planning History 13, no. 4 (October 21, 2013): 296–321. http://dx.doi.org/10.1177/1538513213508078.

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In the first two decades of the twentieth century, more than twenty plans were prepared for the Los Angeles Civic Center. With their monumental architectural style, broad boulevards and landscaped public plazas, these proposals draw heavily from planning’s early City Beautiful roots and challenge the idea that Los Angeles had only a “brief infatuation” with the movement. This article considers a number of these proposals, paying particular attention to two schemes that bookend the local movement: the 1907 plan prepared by Charles Mulford Robinson for the Municipal Art Commission and the plan prepared by the Allied Architects Association in the mid-1920s. While neither was implemented in full, the discussions that surrounded their adoption demonstrate a continued local interest in aesthetically oriented planning at a grand scale. A close reading of these plans, and especially the ways in which the authors attempt to communicate their ideas visually provides an opportunity to consider how the profession incorporated competing ideas about art and science, professional expertise, race and real estate, in its attempt to persuade public officials and the public at large to act.

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Gustafsson, Daniel. "The Beauty of Christian Art." Forum Philosophicum 17, no. 2 (2012): 175–96. http://dx.doi.org/10.5840/forphil201217212.

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Kemp, G. "Philosophies of Art and Beauty." British Journal of Aesthetics 42, no. 1 (January 1, 2002): 95–97. http://dx.doi.org/10.1093/bjaesthetics/42.1.95.

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Falla, Carlo. "TRUTH, BEAUTY, ART and SCIENCE." Journal of Interior Design 20, no. 2 (September 1994): 1. http://dx.doi.org/10.1111/j.1939-1668.1994.tb00189.x.

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Romm, Sharon. "Art, Love, and Facial Beauty." Clinics in Plastic Surgery 14, no. 4 (October 1987): 579–83. http://dx.doi.org/10.1016/s0094-1298(20)31486-3.

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Gooding-Williams, Robert. "Beauty as Propaganda." Philosophical Topics 49, no. 1 (2021): 13–33. http://dx.doi.org/10.5840/philtopics20214912.

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This paper considers W.E.B. Du Bois’s short story, “Jesus Christ in Texas,” in the perspective of his analysis of the concept of beauty in Darkwater (1920); his exposition of the idea that “all art is propaganda” in “Criteria of Negro Art” (1926); and his moral psychology of white supremacy. On my account, Du Bois holds that beautiful art can help to undermine white supremacy by using representations of moral goodness to expand the white supremacist’s ethical horizons. To defend this thesis, he relies on an image of “the cross and the lynching tree” to revise imagery that he draws from Albrecht Dürer’s 1504 painting, “The Adoration of Kings.”

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Garousi, Mehrdad. "The Postmodern Beauty of Fractals." Leonardo 45, no. 1 (February 2012): 26–32. http://dx.doi.org/10.1162/leon_a_00322.

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Fractal art, one of the significant conjunctions of art, modern mathematics and computer technology, has been the author's primary art medium for the past five years. After presenting an introduction to the general properties of fractal art, the author explains certain visual aspects and processes of creating such art using examples from his own work.

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Heo, Yun-Jung, and Sul-Gee Kim. "Beauty Art Works Converging Korean Traditional Hairstyles and Western Contemporary Makeup: Focusing on the recycling of packaging strings." Korean Society of Beauty and Art 23, no. 3 (September 20, 2022): 251–68. http://dx.doi.org/10.18693/jksba.2022.23.3.251.

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In modern beauty industry, there have been attempts to differentiate varied and experimental hair and makeup image which reflect the past for the purpose of unveiling new and creative design. Under such circumstances, this study investigated the expression elements of Korean traditional hairstyles and makeup characteristics of the figures of the times in the West to express new beauty art images by converging Korean traditional hairstyles and western contemporary makeup images. In addition, Korean traditional hairstyles and adjective images which can be felt from such contemporary makeup were matched according to the IRI image scale through a questionnaire survey. Based on such results, a total of four beauty art works were created by recycling common packaging strings, using relief carving. It was also possible to try the creation of diverse beauty images by matching and expressing verbal images. The study results suggest a method to enhance the value of new beauty art and broaden the sphere of beauty art expression and confirm a possibility of expressing diverse creative beauty art and widening the domain of the beauty art.

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Popovic, Una. "Heidegger on beauty." Zbornik Matice srpske za drustvene nauke, no. 177 (2021): 39–49. http://dx.doi.org/10.2298/zmsdn2177039p.

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This paper is about Heidegger?s understanding of beauty, with regard to his specific critique and reevaluation of traditional philosophical aesthetics, known as overcoming of aesthetics. Namely, since the notion of beauty is not the most prominent one in Heidegger?s understanding of aesthetics, my aim in this paper is to point out to its role and function in the project of overcoming of aesthetics and metaphysics, and consequently, in the development of Heidegger?s later philosophy in general. I will focus my analyses on two Heidegger?s lectures dating from 1935-1936, The Origin of the Work of Art and The Introduction to Metaphysics. Both of these, in my view, represent key texts for the analysis of the notion of beauty in Heidegger. Firstly, I will analyze the relationship between beauty and art, and thus show that Heidegger?s approach to beauty implies ontological connotations (with regard to the question of Being), as well as a critique of traditional relationship between beauty and art (art as production of beauty). Secondly, I will stress the relation between beauty, truth and light (shine), and thus indicate Heidegger?s positive approach to the matter. Resulting from these analyses, Heidegger?s notion of beauty is shown as a vital part of his overcoming of aesthetics and metaphysics, but also as a specific aspect of various questions and problems of his later philosophy. Additionally, the results of these analyses can become a starting point for further interpretation of the relationship between beauty and form, and between light (shine) and Being in Heidegger?s philosophy.

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E, Embun Kenyowati. "PROBLEM KEINDAHAN DALAM SENI: TELAAH BUKU ARTHUR C .DANTO ' THE ABUSE OF BEAUTY' , 2003." Jurnal Dimensi Seni Rupa dan Desain 7, no. 1 (September 1, 2009): 23–39. http://dx.doi.org/10.25105/dim.v7i1.1076.

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AbstractThis paper is about Arthur C. Danto's book. The Abuse of Beauty, Aesthetics and the Concepts of Art , 2003. Danto started to discuss about beauty in art, by analyzing the work of Andy Warhol, Brillo Box ( 1964), he invited us to answer the question, is there still beauty in art? How to explain the aesthetics of that work ? Once , beauty is part of the definition of art. But by looking at the avant grade art, do we still say about beauty , in Immanuel Kant's sense in Englightenment era? Avant garde art is intractable, he said. Avant garde art says something about new category of aesthetics such as repulsion , object, horror, disgust, etc. He proposed , instead of beauty , art should be understood in three ways: art as transformative power. Art as the way to understand culture and as a work that embodied meaning. Finally, he proposed sumblimity in art that seems to go beyond beauty. AbstrakTulisan ini merupakan telaah bukunya Arthur C. Danto The Abuse of Beauty Aesthetics and The Concept of Art, 2003', yaitu mengenai penyimpangan keindahan ,estetika dan konsep seni tahun 2003. Danto memulai mendiskusikan keindahan dalam seni dengan membahas karya Andy Warhol yang berjudul Brillo Box ( 1964), ia melontarkan pertanyaan , apakah masih ada keindahan dalam sebuah karya seni? Bagaimana menjelaskan proses terjadinya estetika, keindahan adalah bagian dari definisi seni. Tapi dengan melihat seni avant grade, apakah kita masih dapat mengatakan tentang keindahan . Bagi Immanuel Kant pengertian di era Pencerahan? Avant grade meripakan seni sulit ditangani katanya. Apa yang dipinggirkan Kant telah menjadi 'katagori estetik baru' dalam seni kontemporer, seperti yang menjijikan, rendah menakutkan dan yang memuakkkan. Seni harus dipahami dalam tiga segi , yaitu seni sebagai kekuatan transformatif , seni sebagai cara untuk memahami budaya dan sebagai sebuah karya yang mengandung makna. Akhirnya Danto mengemukakan bahwa seni itu sublime.

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Earle, William James, and Richard Shusterman. "Pragmatist Aesthetics: Living Beauty, Rethinking Art." Poetics Today 16, no. 2 (1995): 375. http://dx.doi.org/10.2307/1773334.

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Rajput, Shahid Ahmad. "BEAUTY AND MYSTERY OF GANDHARA ART." Researcher: A Research Journal of Culture and Society 3, no. 3 (October 31, 2018): 1–12. http://dx.doi.org/10.3126/researcher.v3i3.21546.

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This paper is a short history to establish the location, era and the main actors involved in the creation of a civilization what is generally known as Gandhara. It also includes a brief history of the Art and Architecture of Gandhara as the main feature and the beauty and mystery associated therein. Limitation of the length of paper will keep our discussion on three main centers as below. Necessary visual evidence is also included to justify the Beauty and the Mystery attached to the art of Gandhara for which this paper is initiated. Fact of the matter is that hundreds of books are written on Gandhara Civilization but this point “Beauty and Mystery of Gandhara” has hardly been addressed. This paper is therefore an attempt to fill the gap long felt by the author and last but not the least this paper is dedicated to the love and affection to the artwork of the monks who produced the Master Pieces of Gandhara, both in Stone and Stucco. The analysis is made according to the existing literature and author's own experience and interpretation. Researcher: A Research Journal of Culture and Society Vol. 3, No. 3, January 2018, Page: 1-12

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Haskins, Casey, and Richard Shusterman. "Pragmatist Aesthetics: Living Beauty, Rethinking Art." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 329. http://dx.doi.org/10.2307/431409.

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20

Agoston, Laura, Francis Ames-Lewis, and Mary Rogers. "Concepts of Beauty in Renaissance Art." Art Bulletin 82, no. 4 (December 2000): 768. http://dx.doi.org/10.2307/3051421.

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Bouvier, David. "Art as Weapon, or Murderous Beauty." Arion: A Journal of the Humanities and the Classics 20, no. 2 (2012): 81–98. http://dx.doi.org/10.1353/arn.2012.0033.

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22

Bates, J. B. "Book Reviews : Theology, Beauty, and Art." Expository Times 111, no. 12 (September 2000): 429–31. http://dx.doi.org/10.1177/001452460011101238.

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David Bouvier. "Art as Weapon, or Murderous Beauty." Arion: A Journal of Humanities and the Classics 20, no. 2 (2012): 81. http://dx.doi.org/10.2307/arion.20.2.0081.

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Jeong, T. H. "Art-science, beauty-reason and holography." Journal of Physics: Conference Series 415 (February 22, 2013): 012062. http://dx.doi.org/10.1088/1742-6596/415/1/012062.

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Juarranz, Angela. "Mundane beauty in art and architecture." Ge-conservacion 11 (July 2, 2017): 196–201. http://dx.doi.org/10.37558/gec.v11i0.476.

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In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

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HARRIES, RICHARD. "Art and the Beauty of God." Art Book 1, no. 1 (January 1994): 10. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00067.x.

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Gaiger, Jason. "Art After Beauty: Retrieving Aesthetic Judgement." Art History 20, no. 4 (December 1997): 611–16. http://dx.doi.org/10.1111/1467-8365.00084.

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Heinrich, Falk. "On the beauty of interactive art." International Journal of Arts and Technology 1, no. 2 (2008): 159. http://dx.doi.org/10.1504/ijart.2008.021925.

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Kaplan, C. S. "Math art: truth, beauty, and equations." Journal of Mathematics and the Arts 13, no. 3 (October 8, 2019): 305–7. http://dx.doi.org/10.1080/17513472.2019.1663715.

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Haughton, Neil. "Perceptions of beauty in Renaissance art." Journal of Cosmetic Dermatology 3, no. 4 (December 2004): 229–33. http://dx.doi.org/10.1111/j.1473-2130.2004.00142.x.

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Cowcher, Kate. "Trash Talking: Yoruba Art beyond Beauty." Art History 35, no. 4 (August 9, 2012): 860–62. http://dx.doi.org/10.1111/j.1467-8365.2012.00925.x.

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Ortiz, Enrique. "The Beauty of Mathematics and Art." Mathematics Teacher: Learning and Teaching PK-12 113, no. 8 (August 2020): 684. http://dx.doi.org/10.5951/mtlt.2020.0051.

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Osterweis, Laura E. "The Impermanence of Art and Beauty." Athens Journal of Humanities and Arts 3, no. 1 (December 30, 2015): 27–40. http://dx.doi.org/10.30958/ajha.3.1.3.

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Hanza, Kathia. "The Contemporary Antithesis between Art and Beauty." Dialogue and Universalism 29, no. 3 (2019): 103–12. http://dx.doi.org/10.5840/du201929340.

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This article examines the antecedents and background of the antithesis between art and beauty. It also considers if this confrontation, typical in modern aesthetics, provides necessary conceptual categories to comprehend the situation of art in the communication era, characteristic of a generalised aesthetisation. Departing from the ideas posed by Yves Michaud, Mateu Cabot, Didi-Huberman and Mario Perniola, the author dismantles the false opposition between art and beauty; she proposes a strategy to avoid an antithetical position and exhorts the readers to recover a different experience from beauty.

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Kolomiets, Galina G., and Pavel V. Lyashenko. "From Russian Theurgical Aesthetics to the Utopian Theurgy of Beauty and Art in the Russian Diaspora Philosophy." RUDN Journal of Philosophy 26, no. 1 (March 29, 2022): 120–36. http://dx.doi.org/10.22363/2313-2302-2022-26-1-120-136.

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The paper is devoted to the analysis of theurgic aesthetics in relation to the concept of utopia that initiates a different understanding of the philosophy of the Russian diaspora representatives through the prism of utopian theurgy of beauty and art. Introducing the idea of utopian theurgy of beauty and art the authors emphasize its meaningful, axiological component. The authors interpret the utopian theurgy of beauty and art in the Russian diaspora philosophy of the first third of the 20th century as an aesthetically mystical experience of the imperfection of human earthly existence that causes a gap with socio-historical reality with direct co-existence of the creative individual with God who is considered to be the true Beauty, the cosmic Harmony, and the universal Love. The meaning of the utopian theurgy of beauty and art is in achieving the goal of possible union with the deity, as well as in affirming persons actions as a co-creator of the world process. The utopian theurgy of beauty and art of an optimistic nature, associated with the light of hope directed to the transformation of earthly existence is reflected in N.S. Arsenyev's idea of spiritual joy achievable in the mystical experience of "longing for Beauty in God"; in B.P. Vysheslavtsev's reflections about the artistic and creative embodiment of eros as thirst, the birth of the God-Man in beauty, as well as in I.A. Ilyin's philosophy, in which, despite disappointments in social changes, the faith in art as the Mystery, as "a service and a joy" always following sacred traditions is preserved. The aesthetic and pessimistic foundations of utopian theurgy are realized in the aesthetic views of V.V. Weidle, according to which art has lost its orientation to high objective spirituality; in S.L. Frank's idea of unrealized Beauty as a dream of the ultimate transformation of the world that is opposed by the bitter reality of the split of being; as well as in the philosophy of N.A. Berdyaev, who postulates the tragedy of earthly existence caused by the unattainability of the full realization of the cosmic Beauty that considers as the goal of the world process. N.O. Lossky's metaphysics, intuitionism and value system are of particular importance, as the utopian theurgy of beauty and art consists in the following: there always remains a share of the absolute truth in art that is the world of illusions and artists imagination; the absolute value of beauty universally valid for all substantial personalities is affirmed.

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Siegel, Jonah. "Beauty." Victorian Literature and Culture 48, no. 4 (2020): 745–71. http://dx.doi.org/10.1017/s1060150320000315.

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Alfred Tennyson's poem “The Palace of Art” (1832/1842) is liable to strike the modern reader as all too clear in its meanings. Yet the author evidently feels the need to gloss the theme of the work and to elaborately preview its narrative in a brief poem that he includes with the piece when he sends it to his friend Richard Trench. “I send you here a sort of allegory (For you will understand it),” Tennyson writes in a peculiar formulation that muddies several issues about the aspirations of the work even while expressing certainty about the poem's clarity. The suggestion is that Trench will have access to a particular insight (“you will understand” being something we say when others may not). Or does Tennyson mean that the allegory is so clear that its tendency is unmissable? That would certainly be a reasonable construal of the claim about a poem with few apparent mysteries.

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O'Hear, Anthony. "Prospects for Beauty." Royal Institute of Philosophy Supplement 48 (September 2001): 175–91. http://dx.doi.org/10.1017/s1358246100010778.

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Ruskin said ‘Great nations write their autobiographies in three manuscripts, the book of their deeds, the book of their words and the book of their art. Nor one of these books can be understood unless we read the two others, but of the three the only trustworthy one is the last.’

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Chen, Xiao Mei, Bo Lin Wu, and Yun Mu. "Research on Particularity of Stage Art Design in the Fashion Show." Advanced Materials Research 1048 (October 2014): 345–48. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.345.

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The fashion show was needed to inosculate clothing, music, dance, music, drama, art, sculpture and other arts as a whole,and conduct comprehensive art creation.The stage art design was a very important part in the fashion show, the artistic atmosphere of the show theme need to express can be rendered and created. The expression of fashion show on the clothing art beauty, dynamic beauty and static models walk the other beauty can be better presents,and more vitality. The overall effect on the fashion show has a crucial role.Therefore, this paper,the special elements of stage art design was analysesed,and the concrete application of the stage art design in the fashion show was explored.

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Asavei, Maria-Alina. "Beauty and critical art: is beauty at odds with critical–political engagement?" Journal of Aesthetics & Culture 7, no. 1 (January 1, 2015): 27720. http://dx.doi.org/10.3402/jac.v7.27720.

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MORI, Mariko. "A Note on the Beauty and Beauty Art in Hindu Epic Literature." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 55, no. 1 (2006): 301–298. http://dx.doi.org/10.4259/ibk.55.301.

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Miller, Rod A. "Zombie Art." Journal of Interdisciplinary Studies 34, no. 1 (2022): 59–72. http://dx.doi.org/10.5840/jis2022341/24.

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It is easy to ridicule the pretense and silliness of many works coming from the “art world.” The story of the arts, for at least the past century and a half, has been one of attempts to keep alive something that is long past dead. For example, without a substantial understanding of quality, aesthetics has been held up as a substitute for life. But the aesthetic, long touted as fundamental to the goals of art, begs other questions: which aesthetic responses? What if one does not have the same, or any, aesthetic response? This essay explores an alternative, one that refutes the modernist conception of substituting mere pleasure and emotion, that is, preferences, for the idea of Beauty as the manifestation of what is known to be True and Good. Instead of seeking living art that is Beautiful, and can bring life, postmodern culture is surrounded by dead, zombie art. Strategies for stopping the flood of long-dead zombie works include reason, ridicule, and pointing the way back to Beauty.

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Opran, Elena Rodica, Dan Valeriu Voinea, and Mirela Teodorescu. "Art and Being in Neutrosophic Communication." International Letters of Social and Humanistic Sciences 47 (February 2015): 16–27. http://dx.doi.org/10.18052/www.scipress.com/ilshs.47.16.

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What seems to suggest various avant-garde and artistic experimentalism movements from futurism to cubism, from expressionism to surrealism, from Picasso to the great masters of informal art is a Beauty of challenge. The avant-garde art does not arise the issue of Beauty. It is understood without saying that the new images are "beautiful" in terms of art and that should produce the same pleasure that feel the contemporaries of Rafael and Giotto in front of their works” asserts Umberto Eco (Eco, 2005). The phenomenon is due to the fact that the challenge of avant-garde tear down all aesthetic canons, observed at the moment. Art no longer aims to offer images of natural beauty, no longer occasion for calm pleasure of contemplation the harmonious forms. Instead, it wants to lead to an interpretation of the world from a different optic, wants to return to archaic or exotic models: the universe of dreams or ill mentally fantasies, visions experienced under the drugs influence, rediscovering matter, chaotic household objects current location in contexts unlikely (new object, Dadaist movement etc.), unconscious impulses, of uncertainties, of confusion, of neutrality. The study aims to explore Beauty and ugly in terms of neutrosophic concept.

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Beattie, James, and Louise Stevenson. ""[W]hat Beauty in Oriental Art Means"." Museum Worlds 7, no. 1 (July 1, 2019): 58–70. http://dx.doi.org/10.3167/armw.2019.070105.

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This article presents new historical research on Asian art—particularly Chinese art—in New Zealand through the examination of the content and reception of the Loan Exhibition of Oriental Art, which was held in Christchurch from May to June 1935. It situates the exhibition within the context of Depression-era New Zealand, examines the place of Chinese art, in particular, in the developing cultural nationalism of New Zealand of this period, and highlights the role of one local connoisseur in the making of the exhibition. Moreover, the article’s focus on the southern hemisphere fills a gap in global histories of Chinese art exhibition in this period.

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Benedicta Maier, Mary. "Does Artwork Have to be Beautiful?" Aristos: A biannual journal featuring excellent student works 1, no. 2 (September 2015): 1–7. http://dx.doi.org/10.32613/aristos/2015.1.2.6.

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Beauty’s relation to art work is a contentious problem for the philosophy of art. The problem is not new to the history of philosophy. Hume and Kant attempted to tackle the question in the modern era. Contemporary philosophers have broadened the definition of art to include works that stretch modern philosophers’ conceptions. With philosophers shifting their definition from the object to the subject, they have effectively marginalized beauty in place of another good or valued concept. Considering the status quo, this paper argues that beauty is a necessary condition for art work. It argues that philosophers have a problem when their broad definition of art disregards the beautiful to incorporate art work that is intentionally ugly or is only considered art work because of its being on display. Comparing the focus of other philosophical disciplines with philosophy of art’s focus on beauty, it argues that philosophy of art blurs its vision when it directs its gaze to that other than to its proper transcendental. Examining the intelligent and elevating characteristics of the art form of sculpture, the paper compares two famous works: Michelangelo’s Pietà and Warhol’s Brillo Boxes. Because the sculptor is able to communicate the beauty of creation through his art work, a philosophy of art that changes its questions to incorporate existing objects that are deemed “art” has not fully addressed the problem of beauty’s place in art work.

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Yaacob, Adli, and Siti Hajar Ramli. "THE CONCEPT AND THE PHILOSOPHY OF ISLAMIC LITERATURE ACCORDING TO MUHAMMAD QUTB." International Research Journal of Shariah, Muamalat and Islam 3, no. 9 (December 31, 2021): 33–44. http://dx.doi.org/10.35631/irjsmi.39005.

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Muhammad Qutb was a writer and Islamic thinker. He believed that Islamic art (literature) is not necessarily the art of talking about Islam. Islamic art is not an advice, direct sermon, and insistence on the following goodness. It is an art that draws an image of existence from the perspective of perception (tasawwur) of Islam on everything that exists. It is a wonderful expression of the universe, life, and humanity, through the Islamic teachings of it. Islamic art is an art that finds the perfect interrelation between the beauty (al-Jamal) and the truth (al-Haq). Beauty refers to the reality of this nature, whilst the truth is the peak of beauty. The relationship between art and Islam is not a reluctance and hostility relationship. It is contrary to a group that assumes religion is related to truth, and art is only about beauty (al-Jamal). Many say that religion only focuses on ethics and morals. On the contrary, Islamic art rejects all constraints against it, including morals and attitude. Religion actually fulfilled the needs of the soul with art, and art meets the creed of the inner soul. The concept of Muhammad Qutb leads to the universal idea of literature (عالمية الأدب), and the commitment to art based on literary texts, and within the framework of Islam. The Quran is a major source of art, presenting a perfect vision of nature, life, and humanity, including the purpose of the arts itself. Islamic art is characterized by four attributes, namely divine truth, the universe, life, and humanity. These four attributes are the core of Islamic art, in addition to the Islamic teachings of existence that focus on realism, beauty, human emotion, destiny, and the truth of faith. All these are the things that turn the arts into giving life-packs and expressions that affect the souls of men.

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Hadiprayitno, Kasidi. "Estetika Wayang." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 31–39. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a282.

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The basics are the puppet aesthetic perspective of the relation elements of beauty in the unity of the structure of the wayang. Understanding the true aesthetic beauty rests on the concept of thought that developed and followed by Western thinkers, however, in the operatate of implemeta- tion still refer to terms that are known in the art of traditional puppet convention. Not all data in the beauty of the puppets can be presented in this short article, but limited to the aspects of beauty essentials only such convention and modernity in the universe puppet, puppet or convention in the art of puppetry, in the currency of view of the puppet, and aesthetic concepts in art puppetry and puppetry.

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Mothersill, Mary, and Umberto Eco. "Art and Beauty in the Middle Ages." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 311. http://dx.doi.org/10.2307/431874.

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Bruun, Ellen Foyn, and Aase-Hilde Brekke. "Art as Resistance: making change through beauty." DRAMA – Nordisk dramapedagogisk tidsskrift 3, no. 01 (May 28, 2020): 62–65. http://dx.doi.org/10.18261/issn.2535-4310-2020-01-14.

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Watts, Robert. "A Place for Beauty in Art Education." International Journal of Art & Design Education 37, no. 1 (February 2018): 149–62. http://dx.doi.org/10.1111/jade.12185.

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Berrios, Ruben. "Review: Pragmatist Aesthetics: Living Beauty, Rethinking Art." Music and Letters 85, no. 4 (November 1, 2004): 677–79. http://dx.doi.org/10.1093/ml/85.4.677.

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Journal articles on the topic 'Beauty and art'

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