sharpe-ancient-2021.pdf (5.48 MB)
Ancient Aesthetics
chapter
posted on 2021-12-30, 00:00 authored by Matthew SharpeFour different areas of concern emerge within “ancient aesthetics,” if we take the latter term to describe ancient authors’ attempts to theoretically comprehend beauty and the arts. These are:
i. The attempt to understand beauty (to kalon) as an “objective” quality in the world that characterises some objects, people, and nature;
ii. The attempt to understand what we would call the “subjective” dimension involved inhuman responsiveness to beauty and the arts: the way that beautiful things please or move us, and the way that their effect upon us can be edifying, purifying us from negative beliefs or emotions (katharsis), or morally elevating us to be better citizens or human beings (in paideia);
iii. Attempts to understand how artistic objects, from poems to sculptures, are produced, whether through madness or inspiration, or by following codifiable technical norms, and with what ends;
iv. As it were in between (i) and (ii), attempts to theorise the ethical and political significance of the arts, given their capacities to powerfully affect and transform individuals or groups. So, in both Plato and Aristotle, the arts are addressed very largely in their political dialogues, like Plato’s Republic and Aristotle’s Politics, in ways we would not today associate with political theory.
With these four concerns in view as a preliminary rubric, we proceed in this chapter in a more or less chronological fashion. We begin with the aesthetic practices and reflections of the preclassical artists and poets, and end with the Stoic philosophers’ views on art and beauty. As we will see, in different authors and periods, different considerations become predominant and pass out of focus.
i. The attempt to understand beauty (to kalon) as an “objective” quality in the world that characterises some objects, people, and nature;
ii. The attempt to understand what we would call the “subjective” dimension involved inhuman responsiveness to beauty and the arts: the way that beautiful things please or move us, and the way that their effect upon us can be edifying, purifying us from negative beliefs or emotions (katharsis), or morally elevating us to be better citizens or human beings (in paideia);
iii. Attempts to understand how artistic objects, from poems to sculptures, are produced, whether through madness or inspiration, or by following codifiable technical norms, and with what ends;
iv. As it were in between (i) and (ii), attempts to theorise the ethical and political significance of the arts, given their capacities to powerfully affect and transform individuals or groups. So, in both Plato and Aristotle, the arts are addressed very largely in their political dialogues, like Plato’s Republic and Aristotle’s Politics, in ways we would not today associate with political theory.
With these four concerns in view as a preliminary rubric, we proceed in this chapter in a more or less chronological fashion. We begin with the aesthetic practices and reflections of the preclassical artists and poets, and end with the Stoic philosophers’ views on art and beauty. As we will see, in different authors and periods, different considerations become predominant and pass out of focus.
