This document is a paper on the topic of Auchitya, which refers to propriety or appropriateness in poetry. It discusses Kshemendra, the 11th century Sanskrit poet who was a major proponent of the Auchitya school of Indian poetics. It defines Auchitya and explains its relationship to rasa. It also outlines Kshemendra's 28 classifications of Auchitya and provides examples of poetic works that demonstrate Auchitya, such as the Bhagavad Gita. Finally, it compares Auchitya to modern aesthetic perspectives.
The document provides an introduction to the ancient Indian text Natyashastra. It states that Natyashastra was created by the god Brahma and recorded by the sage Bharata. It details that Natyashastra is one of the world's largest theatre manuals, covering aspects like stage, dance techniques, acting styles, and the theory of emotions or rasas. The document also summarizes some key concepts from Natyashastra like abhinaya physical storytelling, mudras or hand gestures, and the actor's tools of costumes, words, body language and emotions.
Indian aesthetics encompasses many areas including poetry, music, architecture, painting, and sculpture. Key texts that shaped Indian aesthetics include the Natya Shastra, Dhwanyaloka, and Abhinavabharati. Indian aesthetics views art as a means to experience the Absolute. Nine rasas or aesthetic emotions are described including love, humor, compassion, anger, terror, disgust, wonder, heroism, and peace. Natya Shastra outlines the origin and purpose of Indian drama. Rasa is realized through vibhavas, anubhavas, and sancaribhavas interacting to arouse the sthayibhava or dominant emotion. Major schools of thought on rasa include
This document provides an overview of the theory of Riti in Sanskrit literary criticism. It discusses key theorists like Vamana, Dandin, Kuntaka, Mammata, and Anandavardhana and their categorizations of different Ritis or styles of expression. Riti refers to the proper organization and selection of language, words, and phrases in poetry. It handles the psychophonetic fitness of language for different themes and sentiments. Riti incorporates considerations of diction as well as being a broader theory of the craft and psychology of speech. In conclusion, Vamana defined Riti in a way that positioned the Vaidarbha style as exhibiting all literary qualities fully.
The document discusses the theory of Rasa and Dhvani in Indian aesthetics. It explains that Rasa refers to the dominant emotional theme or feeling evoked by a work of art. There were originally eight Rasas representing human emotions. Dhvani theory suggests that poets evoke emotions in audiences through suggestion rather than direct description, allowing the audience to experience the essence or Rasa of the emotion. The document also explores how Rasa and Dhvani theories were applied to poetry and drama and their development and impact on Indian literature.
This document provides background information on Indian drama in English. It discusses the origins of Indian drama in Sanskrit plays and notes that the journey of Indian drama in English began in the 18th century under British rule. It outlines some of the challenges of developing drama in English as it was not the native language in India. The document highlights several prominent Indian playwrights who helped progress Indian drama in English such as Rabindranath Tagore and Sri Aurobindo. It provides examples of themes and characteristics of Indian drama in English, as well as short biographies of some famous Indian dramatists.
This document is a paper on the topic of Auchitya, which refers to propriety or appropriateness in poetry. It discusses Kshemendra, the 11th century Sanskrit poet who was a major proponent of the Auchitya school of Indian poetics. It defines Auchitya and explains its relationship to rasa. It also outlines Kshemendra's 28 classifications of Auchitya and provides examples of poetic works that demonstrate Auchitya, such as the Bhagavad Gita. Finally, it compares Auchitya to modern aesthetic perspectives.
The document provides an introduction to the ancient Indian text Natyashastra. It states that Natyashastra was created by the god Brahma and recorded by the sage Bharata. It details that Natyashastra is one of the world's largest theatre manuals, covering aspects like stage, dance techniques, acting styles, and the theory of emotions or rasas. The document also summarizes some key concepts from Natyashastra like abhinaya physical storytelling, mudras or hand gestures, and the actor's tools of costumes, words, body language and emotions.
Indian aesthetics encompasses many areas including poetry, music, architecture, painting, and sculpture. Key texts that shaped Indian aesthetics include the Natya Shastra, Dhwanyaloka, and Abhinavabharati. Indian aesthetics views art as a means to experience the Absolute. Nine rasas or aesthetic emotions are described including love, humor, compassion, anger, terror, disgust, wonder, heroism, and peace. Natya Shastra outlines the origin and purpose of Indian drama. Rasa is realized through vibhavas, anubhavas, and sancaribhavas interacting to arouse the sthayibhava or dominant emotion. Major schools of thought on rasa include
This document provides an overview of the theory of Riti in Sanskrit literary criticism. It discusses key theorists like Vamana, Dandin, Kuntaka, Mammata, and Anandavardhana and their categorizations of different Ritis or styles of expression. Riti refers to the proper organization and selection of language, words, and phrases in poetry. It handles the psychophonetic fitness of language for different themes and sentiments. Riti incorporates considerations of diction as well as being a broader theory of the craft and psychology of speech. In conclusion, Vamana defined Riti in a way that positioned the Vaidarbha style as exhibiting all literary qualities fully.
The document discusses the theory of Rasa and Dhvani in Indian aesthetics. It explains that Rasa refers to the dominant emotional theme or feeling evoked by a work of art. There were originally eight Rasas representing human emotions. Dhvani theory suggests that poets evoke emotions in audiences through suggestion rather than direct description, allowing the audience to experience the essence or Rasa of the emotion. The document also explores how Rasa and Dhvani theories were applied to poetry and drama and their development and impact on Indian literature.
This document provides background information on Indian drama in English. It discusses the origins of Indian drama in Sanskrit plays and notes that the journey of Indian drama in English began in the 18th century under British rule. It outlines some of the challenges of developing drama in English as it was not the native language in India. The document highlights several prominent Indian playwrights who helped progress Indian drama in English such as Rabindranath Tagore and Sri Aurobindo. It provides examples of themes and characteristics of Indian drama in English, as well as short biographies of some famous Indian dramatists.
The document discusses the theory of rasa from Indian aesthetics. It summarizes that rasa theory originated with Bharata and refers to the emotional flavors and essence conveyed in literary works that elicit diverse human emotions. It discusses the nine main rasas or sentiments depicted in drama - erotic, comic, pathetic, furious, heroic, terrible, odious, marvelous, and relaxation. Each rasa is defined and examples from literature are provided.
The document discusses the concept of "art for art's sake". It originated in the 19th century French slogan "l'art pour l'art", meaning that art should be valued intrinsically and not serve any didactic, moral or utilitarian function. The phrase is associated with the English Aesthetic Movement of the late 19th century led by figures like Walter Pater who believed art needed only to be beautiful and should not convey moral messages. They rejected views that art should be useful or moral. Adherents felt life should imitate art and that nature lacked the design of art. The concept was influential for Oscar Wilde's novel The Picture of Dorian Gray.
The document discusses several key concepts in Sanskrit literary theory, including dhvani, rasa, alamkara, and their relationships. It provides definitions and explanations of these terms:
- Dhvani refers to suggestive or indirect meaning, as propounded by Anandavardhana, and considers it the characteristic of literary language over other forms of discourse.
- Rasa theory proposes that literature aims to evoke emotions or rasas such as love and humor in audiences. Figures of speech (alamkara) and dhvani are said to lead to evoking rasas.
- Alamkara refers to figurative language and speech that embellish a text but also shape how meaning
The document discusses the Theory of Dhvani proposed by Sanskrit critic Anandvardhan. Dhvani refers to suggestive meaning in poetry where the literal meaning of words takes a subordinate position to suggest deeper ideas, figures of speech, or emotions. Anandvardhan categorized poetry into three types based on dhvani - Uttama uses extensive dhvani, Madhyama uses moderate dhvani, and Adham uses little dhvani. Dhvani can be of three types - Alankara Dhvani relates to figures of speech, Rasa Dhvani relates to emotions, and Vastu Dhvani relates to the subject matter. Anandvardhan believed
Theories of rasa interpretation presentattionShakuntalagawde
This presentation gives different interpretations given by commentators on Rasasutra. Bhattalollata, Shankuka, Bhattalollata, Abhinavagupta were the main exponent of Rasa theory. It gives an overview of different perspectives present in the ancient era on aesthetics. These theories are relevant even in the present era for the field of art. It helps artist as well as connoisseur to understand the beauty.
Natyashastra is an ancient Indian treatise on the performing arts, especially theatre, written by the sage Bharata. It contains 37 chapters covering various topics related to drama production and performance. According to the text, drama was created by Brahma as a source of pleasure and entertainment for people. It describes nine basic sentiments or emotions (rasas) that can be expressed through drama. Bharata outlines how sentiments are achieved through objective conditions (vibhavas), bodily gestures (anubhavas), and secondary emotions and sensations (vyabhichari bhavas). The text also provides details on music, instruments, and other technical aspects involved in theatrical performances. Natyashastra demonstrates that
Bharat's Theory of Rasa is a pioneering concept in Indian poetics that examines the relationship between emotions, aesthetics, and narrative. It establishes nine rasas or aesthetic flavors - love, humor, sorrow, anger, heroism, terror, disgust, wonder, and peace - that are evoked in an audience through the conjunction of various story elements. While influential, the theory faces some challenges in application and has seen little development in recent centuries. It emphasizes close reading and analysis of elements like characterization, language, and presentation to understand how a work produces an emotional response in the audience.
This document discusses concepts in Sanskrit literary theory and criticism including vakrokti, aucitya, and riti. It defines vakrokti as evasive speech and provides an example from a play. It describes the six types of vakrokti from the phonetic to compositional level. Aucitya is defined as appropriateness and Ksemendra enumerated 27 areas where the concept applies. Riti is explained as relating to themes, effects, and sentiments as discussed by Bharata with four specific ritis named. The document serves to outline key concepts in Sanskrit literary criticism.
Natyasastra: Dramatic Mode in light of the Western Concept of DramaAuswyn Winter
This document provides an overview of the conceptual differences between Western/Aristotelian drama and Indian drama as described in Bharata's Natyasastra.
[1] Western drama focuses on action and human psychology, following Aristotle's emphasis on plot, character development, and realistic portrayal of life. In contrast, Natyasastra drama prioritizes dance, music, emotion, and depicting various modes of being without strict time/place boundaries.
[2] Aristotelian drama imitates human actions and behavior, while Natyasastra drama imitates the power behind forms in a dynamic representation of the three worlds. It emphasizes emotional states over plot unfolding.
[3]
This document is a student paper submitted to Bhavnagar University discussing Dhvani theory and Alamkara in Sanskrit poetics. It provides an introduction to Dhvani theory as proposed by Anandavardhana, discussing concepts like Prakrata Dhwani, vaikrta Dhwani, and how Dhvani theory elevates discussion on the essence of poetry. It also discusses the different meanings of Dhvani and the two main divisions of Dhvani theory. Finally, it defines and discusses concepts of Alamkara, including different types like Varnalankar and Shabdanulankar.
This document provides an overview of Alankar Theory, which describes the use of ornaments or figures of speech in Hindu poetry. It discusses key thinkers in the development of Alankar Theory such as Bhamaha and Anandhavardhana. Different types of Alankaras or figures are classified including Shabdhalankaras concerning sound/words and Arthalankaras concerning meaning. Common examples of figures of speech used in Hindi poetry are also outlined.
This document provides an overview of psychoanalytic literary theory and some of its key figures. It discusses how psychoanalytic literary theory emerged in the 19th century and analyzes literature through references to authors' personalities and works to understand their unconscious minds. It profiles Sigmund Freud and his theories of the unconscious, id, ego and superego. It also summarizes Carl Jung's concepts of archetypes and the collective unconscious. Finally, it briefly outlines Jacques Lacan's stages of the imaginary, mirror and symbolic orders in human mental development.
Bharatiya Natyashastra is an ancient Sanskrit treatise on performing arts written by Bharatmuni. It contains 36,000 sutras and 6,000 shlokas discussing topics like theatre, dance, music, and recitation. The text describes four types of bhava or emotional states that give rise to rasas or aesthetic experiences. It also discusses concepts like vibhava, anubhava, and vyabhichari that are involved in rasas. Bharatmuni identified 9 rasas corresponding to emotional states and associated gods, colors, and sentiments. Natyashastra provides fundamental principles of Indian performing arts and its terminology indicates it was written prior to the
Riti Theory by Vamana in Indian Poetics. This presentation is about Riti Theory. In Indian Poetics, there were several school like Rasa, Alamkara, Riti, Dhavani , Vakrokti and Auchitya.
The document discusses Indian aesthetics and art theory. It provides an overview of key concepts in Indian aesthetics including rasa (aesthetic experience/essence), the navarasas (nine basic emotions), and the theories of Bharata in the Natyashastra. It describes how vibhavas, anubhavas, and vyabhichari bhavas combine to produce rasa. It also discusses Indian aestheticians like Abhinavagupta and artists like M.F. Hussain. Criticisms of Indian aesthetics note its narrow focus on emotion and pleasure rather than other artistic aims.
The document discusses the concept of subalternity as developed by Antonio Gramsci and later expanded upon by Gayatri Spivak. It refers to subalternity as describing those who are marginalized to the point of having no voice, including by factors like class, caste, gender, and race. Several authors are discussed who write from a subaltern perspective, aiming to give voice to the oppressed and highlight their role in history rather than just that of elites. These include Indian authors like Mulk Raj Anand and Arundhati Roy in their portrayals of class-based and gendered subaltern experiences.
This document provides an overview of Sigmund Freud and Jacques Lacan's theories of psychoanalysis. It discusses Freud's major works on the conscious and unconscious mind, interpretation of dreams, and the id, ego and superego. For Lacan, the unconscious is shaped by language and the discourse of others, rather than dark impulses. Lacan also described three stages of development: the imaginary stage, the mirror stage, and the symbolic stage defined by language acquisition. The document notes some differences between Freud and Lacan's views, such as whether sex or affection comes first, and whether the unconscious is full of impulses or the discourse of others. Finally, it discusses how their theories can be applied to understanding the
Amrita Sher-Gil was a pioneering modern Indian painter born in 1913 in Budapest, Hungary. She received training in art in Hungary, Italy, and France before returning to India in 1934 where she began focusing on Indian themes and subjects. Her works portrayed the lives of common people and brought recognition to modern Indian art. She passed away in 1941 in Lahore at the young age of 28, leaving behind a pioneering body of work that made her one of the most influential Indian artists of her time.
The document discusses the theory of rasa from Indian aesthetics. It summarizes that rasa theory originated with Bharata and refers to the emotional flavors and essence conveyed in literary works that elicit diverse human emotions. It discusses the nine main rasas or sentiments depicted in drama - erotic, comic, pathetic, furious, heroic, terrible, odious, marvelous, and relaxation. Each rasa is defined and examples from literature are provided.
The document discusses the concept of "art for art's sake". It originated in the 19th century French slogan "l'art pour l'art", meaning that art should be valued intrinsically and not serve any didactic, moral or utilitarian function. The phrase is associated with the English Aesthetic Movement of the late 19th century led by figures like Walter Pater who believed art needed only to be beautiful and should not convey moral messages. They rejected views that art should be useful or moral. Adherents felt life should imitate art and that nature lacked the design of art. The concept was influential for Oscar Wilde's novel The Picture of Dorian Gray.
The document discusses several key concepts in Sanskrit literary theory, including dhvani, rasa, alamkara, and their relationships. It provides definitions and explanations of these terms:
- Dhvani refers to suggestive or indirect meaning, as propounded by Anandavardhana, and considers it the characteristic of literary language over other forms of discourse.
- Rasa theory proposes that literature aims to evoke emotions or rasas such as love and humor in audiences. Figures of speech (alamkara) and dhvani are said to lead to evoking rasas.
- Alamkara refers to figurative language and speech that embellish a text but also shape how meaning
The document discusses the Theory of Dhvani proposed by Sanskrit critic Anandvardhan. Dhvani refers to suggestive meaning in poetry where the literal meaning of words takes a subordinate position to suggest deeper ideas, figures of speech, or emotions. Anandvardhan categorized poetry into three types based on dhvani - Uttama uses extensive dhvani, Madhyama uses moderate dhvani, and Adham uses little dhvani. Dhvani can be of three types - Alankara Dhvani relates to figures of speech, Rasa Dhvani relates to emotions, and Vastu Dhvani relates to the subject matter. Anandvardhan believed
Theories of rasa interpretation presentattionShakuntalagawde
This presentation gives different interpretations given by commentators on Rasasutra. Bhattalollata, Shankuka, Bhattalollata, Abhinavagupta were the main exponent of Rasa theory. It gives an overview of different perspectives present in the ancient era on aesthetics. These theories are relevant even in the present era for the field of art. It helps artist as well as connoisseur to understand the beauty.
Natyashastra is an ancient Indian treatise on the performing arts, especially theatre, written by the sage Bharata. It contains 37 chapters covering various topics related to drama production and performance. According to the text, drama was created by Brahma as a source of pleasure and entertainment for people. It describes nine basic sentiments or emotions (rasas) that can be expressed through drama. Bharata outlines how sentiments are achieved through objective conditions (vibhavas), bodily gestures (anubhavas), and secondary emotions and sensations (vyabhichari bhavas). The text also provides details on music, instruments, and other technical aspects involved in theatrical performances. Natyashastra demonstrates that
Bharat's Theory of Rasa is a pioneering concept in Indian poetics that examines the relationship between emotions, aesthetics, and narrative. It establishes nine rasas or aesthetic flavors - love, humor, sorrow, anger, heroism, terror, disgust, wonder, and peace - that are evoked in an audience through the conjunction of various story elements. While influential, the theory faces some challenges in application and has seen little development in recent centuries. It emphasizes close reading and analysis of elements like characterization, language, and presentation to understand how a work produces an emotional response in the audience.
This document discusses concepts in Sanskrit literary theory and criticism including vakrokti, aucitya, and riti. It defines vakrokti as evasive speech and provides an example from a play. It describes the six types of vakrokti from the phonetic to compositional level. Aucitya is defined as appropriateness and Ksemendra enumerated 27 areas where the concept applies. Riti is explained as relating to themes, effects, and sentiments as discussed by Bharata with four specific ritis named. The document serves to outline key concepts in Sanskrit literary criticism.
Natyasastra: Dramatic Mode in light of the Western Concept of DramaAuswyn Winter
This document provides an overview of the conceptual differences between Western/Aristotelian drama and Indian drama as described in Bharata's Natyasastra.
[1] Western drama focuses on action and human psychology, following Aristotle's emphasis on plot, character development, and realistic portrayal of life. In contrast, Natyasastra drama prioritizes dance, music, emotion, and depicting various modes of being without strict time/place boundaries.
[2] Aristotelian drama imitates human actions and behavior, while Natyasastra drama imitates the power behind forms in a dynamic representation of the three worlds. It emphasizes emotional states over plot unfolding.
[3]
This document is a student paper submitted to Bhavnagar University discussing Dhvani theory and Alamkara in Sanskrit poetics. It provides an introduction to Dhvani theory as proposed by Anandavardhana, discussing concepts like Prakrata Dhwani, vaikrta Dhwani, and how Dhvani theory elevates discussion on the essence of poetry. It also discusses the different meanings of Dhvani and the two main divisions of Dhvani theory. Finally, it defines and discusses concepts of Alamkara, including different types like Varnalankar and Shabdanulankar.
This document provides an overview of Alankar Theory, which describes the use of ornaments or figures of speech in Hindu poetry. It discusses key thinkers in the development of Alankar Theory such as Bhamaha and Anandhavardhana. Different types of Alankaras or figures are classified including Shabdhalankaras concerning sound/words and Arthalankaras concerning meaning. Common examples of figures of speech used in Hindi poetry are also outlined.
This document provides an overview of psychoanalytic literary theory and some of its key figures. It discusses how psychoanalytic literary theory emerged in the 19th century and analyzes literature through references to authors' personalities and works to understand their unconscious minds. It profiles Sigmund Freud and his theories of the unconscious, id, ego and superego. It also summarizes Carl Jung's concepts of archetypes and the collective unconscious. Finally, it briefly outlines Jacques Lacan's stages of the imaginary, mirror and symbolic orders in human mental development.
Bharatiya Natyashastra is an ancient Sanskrit treatise on performing arts written by Bharatmuni. It contains 36,000 sutras and 6,000 shlokas discussing topics like theatre, dance, music, and recitation. The text describes four types of bhava or emotional states that give rise to rasas or aesthetic experiences. It also discusses concepts like vibhava, anubhava, and vyabhichari that are involved in rasas. Bharatmuni identified 9 rasas corresponding to emotional states and associated gods, colors, and sentiments. Natyashastra provides fundamental principles of Indian performing arts and its terminology indicates it was written prior to the
Riti Theory by Vamana in Indian Poetics. This presentation is about Riti Theory. In Indian Poetics, there were several school like Rasa, Alamkara, Riti, Dhavani , Vakrokti and Auchitya.
The document discusses Indian aesthetics and art theory. It provides an overview of key concepts in Indian aesthetics including rasa (aesthetic experience/essence), the navarasas (nine basic emotions), and the theories of Bharata in the Natyashastra. It describes how vibhavas, anubhavas, and vyabhichari bhavas combine to produce rasa. It also discusses Indian aestheticians like Abhinavagupta and artists like M.F. Hussain. Criticisms of Indian aesthetics note its narrow focus on emotion and pleasure rather than other artistic aims.
The document discusses the concept of subalternity as developed by Antonio Gramsci and later expanded upon by Gayatri Spivak. It refers to subalternity as describing those who are marginalized to the point of having no voice, including by factors like class, caste, gender, and race. Several authors are discussed who write from a subaltern perspective, aiming to give voice to the oppressed and highlight their role in history rather than just that of elites. These include Indian authors like Mulk Raj Anand and Arundhati Roy in their portrayals of class-based and gendered subaltern experiences.
This document provides an overview of Sigmund Freud and Jacques Lacan's theories of psychoanalysis. It discusses Freud's major works on the conscious and unconscious mind, interpretation of dreams, and the id, ego and superego. For Lacan, the unconscious is shaped by language and the discourse of others, rather than dark impulses. Lacan also described three stages of development: the imaginary stage, the mirror stage, and the symbolic stage defined by language acquisition. The document notes some differences between Freud and Lacan's views, such as whether sex or affection comes first, and whether the unconscious is full of impulses or the discourse of others. Finally, it discusses how their theories can be applied to understanding the
Amrita Sher-Gil was a pioneering modern Indian painter born in 1913 in Budapest, Hungary. She received training in art in Hungary, Italy, and France before returning to India in 1934 where she began focusing on Indian themes and subjects. Her works portrayed the lives of common people and brought recognition to modern Indian art. She passed away in 1941 in Lahore at the young age of 28, leaving behind a pioneering body of work that made her one of the most influential Indian artists of her time.
Kitaplar/Eserler:
İçeriden - Ece Temelkuran
Çirkinliğin Tarihi - Umberto Eco
Gen - Siddhartha Mukherjee
Sanata Giriş - Selçuk Mülayim
Sanatın Anlamı - Herbert Read
Görme Biçimleri - John Berger
Medya Gerçeği - Noam Chomsky
Globalleşme Senaryosunun Aktörleri - D. Ü. Arıboğan
Homo Deus - Yuval Noah Harari
Yunus Emre’ye selâm - Sabahattin Eyuboğlu
Hayvan Deyip de Geçme - Aziz Nesin
2. GÜZELLİK KAVRAMI
GÜZELLIK NEDİR ?
Güzel denilen değer, bir nesneye yüklenilen, bir
nesne tarafından taşınan değerdir. Bir canlı, bitki ya
da sanat yapıtına güzel denebilir.
Terimsel anlamlarından birkaçı;
- Göze ve kulağa hoş gelen, hayranlık
uyandıran, çirkin karşıtı.
-Beklenene uygun düşen ve başarı düşüncesi
uyandıran.
-Soyluluk ve ahlaki üstünlük düşüncesi uyandıran.
-Görgü kurallarına uygun olan.
3. GÜZELLİK VE ESTETİK
Dünden bu güne Estetik ve Güzellik yan yana
anılan, aynıymış gibi duran iki kavram gibi
görünür.
Bakış açısı her ne olursa olsun, „‟güzellik‟‟ diye
tabir olunan olgu kişi ve zamana göre değişir.
Estetik başlı başına bir derinlik ifade eder.
Buna karşılık ister zaman diyelim isterse başka
etkenlerden söz edelim; iki kelime giriftleşmiş ve
beraberce anılır olmuştur. Bu da bir nevi
mükemmelin tanımını vermektedir.
4. FELSEFE VE GÜZELLİK KAVRAMI
Güzel‟i felsefe objesi olarak ele alan ve onu
sistematik bir biçimde geliştiren ise Platon‟dur.
„Güzel ve iyi aynıdır.‟ der. Daha sonra güzelin
varlıklarda ve olaylarda değil, onlara yansıyan
idealar aleminde, Tanrı katında olduğunu söyler.
İlerleyen yaşlarında ise idealar dünyasından
sıyrılarak güzel kavramının matematiksel
temellere dayandıranların başında gelir.
5. Aristotales de güzelliği Yunanlar‟ın her gün
kullandıkları anlamda kullanır, estetiğin
konusu olarak görmez. Ona göre
güzel, herşeyden önce canlı ve doğal
olmalıdır. Doğa biçimleriyle sanat biçimleri
arasında karşılaştırmaya girmez.
Büyük ve çok küçük olanın güzel olarak
nitelendirilemeyeceğini vurgulamıştır.
6. Plotinos, Belli şeyler özlerinden ötürü güzel
olmayıp, pay alma nedeni ile güzeldirler, bedenler
gibi, diğer bazı şeyler kendi başına
güzeldirler, erdemin özü gereğince güzel olması gibi.
Alman filozoflarından I. Kant, güzeli bir estetik değer
olarak hoş, iyi doğru ve yararlıdan ayırarak tabiat
güzelliği tabiatın bir maddede amacına ulaşmasıdır;
bunun belli kuralları vardır. Sanat güzelliğinde ise
çoğu kez amaç, kural yoktur; hoşa gitme ve ruhtaki
estetik duygu esastır.
7. Fr. Shiller’e göre de güzelliğin bir duyusal
bir de akli yanı vardır.
Güzellik, aklın, duyuların şekillenmesidir.
İnsandaki oyun içtepisi, akıldaki biçim içtepisi
ile duyulardaki yaşama içtepisini güzellik
şeklinde birleştirir.
8. DOĞA GÜZELLİĞİ VE SANAT GÜZELLİĞİ
Natüralistlere göre bir doğa güzelliği vardır ve
bu, sanat için bir model, bir örnek olmalıdır.
Sanat, ancak doğayı taklit (mimeris) edebilir.
Dolayısıyla doğa güzelliği sanat
güzelliğinden önce gelecek ve ona kılavuzluk
edecektir.
Ancak doğa her zaman güzel değildir ve
bazı çirkin ve feci doğa manzaraları sanat
eserlerine yansıtıldığında orada güzel olabilir.
9. Kant, Hegel, Cr Genelde doğa güzelliği
estetik dışı bir şeydir; ama onun hoşa
giden, bize zevk veren yönlerini bir estetik
obje olarak görüyorsak, o doğa parçası
güzeldir.
Yani güzelliğin kaynağı doğa ve madde
dünyası değil, insanın kendi iç dünyasıdır.
oce, Lukacs gibi düşünürlere göre,
10. GÜZELLİĞİN NİTELİKLERİ
Güzelliğin objektif ve subjektif nitelikleri
vardır.
Subjetif nitelikler kişiden kişiye, toplumlara ve
yüzyıllara göre değişebileceği için,kısaca
objektif niteliklerden bahsedilebilir.
11. İÇSEL NİTELİKLER
-Bir eserin güzel olması, onun temsil ettiği
ideyi yansıttığı oranda artar. Güzel bir
şey, idesine, özüne, kavramına uygun olan
şeydir.
- Güzel eser, temsil ettiği şeyin tipine bir
bütün olarak uygun olmalıdır. Yetkin
olmayan, tam olmayan şeyler güzel değildir.
12. DIŞSAL – BİÇİMSEL NİTELİKLER
- Orantı ve Simetri
Özellikle güzelliğin matematik olarak
belirlenmesi sırasında karşımıza çıkan ilk
orantıdır. Güzel, unsurların orantılı olarak
birleşmesidir. Orantısız şey güzel olamaz.
Orantıya bağlı olan güzelliğin bir başka niteliği
simetridir. Güzel olan bir bütünün parçaları
arasında ölçüye dayalı bir düzen vardır.
Doğadaki güzellik büyük ölçüde simetriye
bağlıdır.
13. UYUM (HARMONİ)
Bütün güzellikler için, parçaların uyumlu
birleşmesi önemlidir. Hem hareketli hem de
hareketsiz bütünlerde uyum önemlidir. Zaten
uyum olmaz ise güzellik de kalmaz, bütün
de.
Evrende herşey çok ve karmaşık gibi
görünür. Ama çoklukta birlik sağlanınca bir
uyum, bir güç, bir güzellik ortaya çıkar.
14. GÜNÜMÜZDE GÜZELLİK VE DAYATILAN GÜZELLİK
Her döneme özgü ayrı güzel tanımlaması olmuştur.
1920‟li yıllarda kusursuz kadın etine dolgun iken
sonrasında küçük göğüs ve kalçası olmayan erkeksi
vücut hatları olanlara güzel denildi.
1960‟lı yıllar ise bembeyaz bir cilt iri dikkat çekici göz ve
dudaklar güzellik kavramını şekillendiridi.
1970‟lerde ise ince bel geniş kalça kalın kaşlar güzelilk de
belirleyici oldu.
1980‟lere gelindiğinde ise ihtişamlı denilecek kadar
abartılı makyaj ve kabarık saçlar.
1990‟larda ise güzellik kavramının daha minimalize
olduğunu gözlemlemekteyiz
15. Doğaya ters olmasına rağmen artık her daim
kadınlardan genç ve güzel kalması beklenilir
oldu.
Kozmetik, zayıflama ilaçları, diyetler, güzellik
merkezleri, estetik cerrahi bu isteğin yerine
getirilebilmesi için epey gelişti ve ekonomide
iyi bir pazar oluşturdu.
16. Basın-yayın devamlı özendirilen kişiler sunuyor.
Filmlerde özel seçilmiş genç ve güzel bayanlar
oynatılıyor.
Aslında genel kabul gören güzellik algısı
zamana göre değişiyor. Çeşitli dönemlerde
birbirine zıt güzellik algıları gelişmiş. Mesela
İspanyol paça ve kütük topuklu ayakkabıların
içinde insanlar bir zamanlar harika göründüğünü
düşünürmüş. Şimdi komik bulunuyor.
17. Bir yandan da basın-yayın bilinçaltına değişen, yani
“güzel kadının zayıf kadın” olduğu yeni güzellik algısını
yerleştirdi. Artık zayıflık moda akımlarına, toplumsal
algılara ve sanata yön verir oldu.
Yakın tarihimizde güzellik, moda ve Hollywood ile
belirlenen bir ölçü haline geldi.
Sadece Amerika ve Avrupa‟da değil, bütün dünyada
kadınlar ve erkekler sinema endüstrisinin ve onun
yarattığı popüler kültürün etkisiyle kendilerini şekillemeye
başladılar. Magazin yayınları bu kültürün vazgeçilmez
taşıyıcıları oldu.
18. DOVE markası 2006 senesinde „‟güzellik anlayışları‟‟
üzerine bir sosyal sorumluluk projesi geliştirmiştir.
Moda dünyasının direttiği güzellik anlayışını takip
eden, 15 yaşından 60 yaşına kadar, dünya kadın
nüfusunun üçte ikisini oluşturan milyonlarca
kadın, görünümlerinden hoşnutsuz olduğu ortaya
çıkmıştı.
Bu kadınlar kendilerinden memnun olmadıkları için
okula gitmek, işe gitmek, erkek arkadaşı ile buluşmak
ve hatta doktora gitmek gibi temel yaşam
faaliyetlerinden kaçınıyorlar.
19. Güzellik kavramını kalıplaşmış klişelerden
kurtarmak ve gerçek güzelliğin tanımını yeniden
yapmak isteyen Dove'un amacı;
Genç kızların vücutlarıyla ilgili kaygılarından
vazgeçerek kendilerini 'güzel' hissetmelerini
sağlamak, kadınların basmakalıp güzellik
kavramlarının peşinden koşmaktansa, kendi
güzelliklerini anlamalarını ve kendilerine güvenli
bireyler olmalarına yardımcı olmak.
20. Kendi güzelliklerinin, dayatılan beden
sınırlarından çok daha fazlasını içerdiğini
düşünenler her geçen gün artıyor.
Güzelliğin dışarıdan değil içeriden geldiği
bilincine varmış, kendi
mutluluklarını, iyiliklerini, özgüvenlerini diğer
bir deyişle kadın olarak varlıklarını
kendilerince ortaya koymanın da bir güzellik
olduğuna inanan birçok kadın var.
21. ÇİRKİNLİK VE TARİHİ
UMBERTO ECO’DAN ÇİRKİNLİĞİN ARKEOLOJİSİ
Günahla Genişleyen Çirkin Kavramı
Eco, antik dönemdeki güzellik kavramının ideal
olana, ahlakî olana yönelik olduğunu
belirtip, Antik Yunan‟daki şiddet kavramının da
çirkinler arasında olduğunu söylemiştir.
Hristiyanlığın yayılması ve başta İsa‟nın çilesi ve
İsa‟ya yapılan zulümler olmak
üzere, günah, şer, cehennem, şeytan ve
kıyamet kavramları dolayısıyla sanat tarihinde
işlenen çirkinin dinsel etkiyle değişimini
aktarıyor.
22. „‟Canavarlar Geliyor‟‟
Mitolojideki Medusa veya üç başlı köpek
tasvirleri yetersiz gelmeye başlamış birbirinden
korkunç, zalim, biçimsiz canavarlar çirkin
kavramı içinde yerini almaya başlamışlardı.
Öyle ki, onların çirkinliğine hayran
kalıp, “mükemmel çirkin”in güzelliğini idrak
etmeye başlıyordu insanoğlu.
Umberto Eco bu durumu, sonsuzun estetiği
olarak tanımladıktan sonra, canavarların ahlaki
yönden değerlendirilmesi gerektiğini söylüyor.
23. Çirkin Özgürlüğü
Ortaçağ‟ın sonlarına doğru dinsel çirkin tanımlamaları
yavaş yavaş sosyal alana kayıp, artık çirkinlik, gülünç
ve müstehcenliği de yanına almaya başlamıştır.
Öyle ki, köylü tasvirlerinde soytarılar, çirkin
köylüler, dinsel taşlamalarda yer alan tasvirler
aracılığıyla çirkinlik, basit halkın, köylünün kaderi
olmaya başlamıştır.
24. Rönesans‟la birlikte bu kötülükleri bir şölene
döndürmeyi ilk uygulayan Rabelais olmuştur
Gargantua ve Pantagruel‟inde
müstehcen, kaba, hoyrat üslubun artık
avamın, köylünün dili olmaktan çıkıp sarayın da dili
olduğunu göstermiştir.
Rönesans ressamı Pieter Bruegel köylünün hayatını
tüm kabalığı (aslında doğallığı) ile
verirken, çirkinliği, müstehcenliği eksiksiz ve aynı
zamanda, beğenilir bir halde resmetmiştir.
25. Çirkin ve Kadın
Antik çağdan modern akımlara kadar kadın karşıtı bir
gelenekle beraber kadın çirkinliği yine günahkarlıkla
bir tutulmaya başlanmıştı.
Dinsel etkiyle beraber, çirkinlikler, iç kötülükleri ve
zararlı baştan çıkarma güçleri kadın ile yansıtılmaya
başlanmıştı.
Kadın görüntüsü güzel olarak verilse de yüzyıllar
boyunca mutlaka çirkin bir varlık olarak ele alındığı
görülmüştür.
26. Çirkin Karizması
Başta romantizm olmak üzere diğer modern çağ sanat anlayışları
ile beraber filozoflar da güzellik ile beraber çirkinlik kavramlarını
eniden sorgulamaya başladılar.
Romantizm çirkinliğin felsefesini yeniden kaleme alırken, modern
akımlar artık “çirkin”lik durumunu olduğu gibi hattâ güzel olanın
içindeki çirkinliği de bütün “çıplaklığı” ile gösterme anlayışına
girdiler.
Günümüze biraz daha yaklaşınca artık değer yargıları
değişmiş, plastik sanatlardan, görsel sanatlara, gündelik hayattan
daha birçok alana çirkinlik şekil değiştirdiği gibi “çirkin karizması”
denen yeni bir maske ile, çirkinler pazarlanabilir hale gelmişti.
Sahnelerde, giyim tarzında, resimlerde, heykellerde çirkin olarak
adlandırılan unsurlar rahatlıkla kullanılır oluyordu.