Usually, the term art was used to refer to any expertise or
mastery. This origin changed during the passionate period, when art came to be
seen as "a special faculty of the human mind to be classified with
religion and science". Generally, art is made with the intention of
stimulating thoughts and emotions.
Richard Wollheim distinguishes three approaches:
1]The Realist,
whereby aesthetic quality is an absolute value independent of any human view;
2]
The Objectivist, whereby it is also an absolute value, but is dependent on
general human experience; and
3] The Relativist
position, whereby it is not an absolute value, but depends on, and varies with,
the human experience of different humans.
An object may be characterized by the intentions, or lack thereof,
of its creator, regardless of its apparent purpose. A cup, which ostensibly can
be used as a container, may be considered art if intended solely as an
ornament, while a painting may be deemed craft if mass-produced. The nature of
art has been described by Richard Wollheim as "one of the most elusive of
the traditional problems of human culture".
It has been defined as a vehicle for the expression or communication
of emotions and ideas, a means for exploring and appreciating formal elements
for their own sake, and as mimesis or representation. Leo Tolstoy
identified art as a use of indirect means to communicate from one person to
another. Benedetto Croce and R.G.
Collingwood advanced the idealist view that art expresses emotions, and that
the work of art therefore essentially exists in the mind of the creator.
The theory of art as form has its roots in the philosophy of Immanuel
Kant, and was developed in the early twentieth century by Roger Fry and Clive
Bell. Art as mimesis or representation has deep roots in the philosophy
of Aristotle. More recently, thinkers
influenced by Martin Heidegger have interpreted art as the means by which a
community develops for itself a medium for self-expression and interpretation.
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