Aesthetics Quotes

And it suggests this truth about the place where aesthetic form meets the human mind. For even if we were to find ourselves homeless, in a strange land, with nothing of ourselves left-say we lost everything-we'd still have another kind of home, in aesthetic form itself, in the familiarity, the unchanging assurance that a known rhythm, a recognised line, the familiar shape of a story, a tune, a line or phrase or sentence gives us every time, even long after we've forgotten we even know it.

There is a sort of aesthetic poverty about conservatism

Christ is a persuasion, a form evoking desire, and the whole force of the gospel depends upon the assumption that this persuasion is also peace: that the desire awakened by the shape of Christ and his church is one truly reborn as agape, rather than merely the way in which a lesser force succumbs to a greater, as an episode in the endless epic of power. (3)

With the plundered people transferring their energies into relaxed and receptive thoughts, degradation and lust for power produced art.

It is with this movement, with the passage and dissolution of impressions, images, sensations, that analysis leaves off—that continual vanishing away, that strange, perpetual weaving and unweaving of ourselves.

We Orientals tend to seek our satisfactions in whatever surroundings we happen to find ourselves, to content ourselves with things as they are; and so darkness causes us no discontent, we resign ourselves to it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light—his quest for a brighter light never ceases, he spares no pains to eradicate even the minutest shadow.

To speak of sparing anything because it is beautiful is to waste one’s breath and incur ridicule in the bargain. The aesthetic sense- the power to enjoy through the eye, and the ear, and the imagination- is just as important a factor in the scheme of human happiness as the corporeal sense of eating and drinking; but there has never been a time when the world would admit it.

Man is not better treated by nature in his first start than her other works are; so long as he is unable to act for himself as an independent intelligence she acts for him. But the very fact that constitutes him a man is that he does not remain stationary, where nature has placed him, that he can pass with his reason, retracing the steps nature had made him anticipate, that he can convert the work of necessity into one of free solution, and elevate physical necessity into a moral law.

Rules of taste enforce structures of power.

An artist's concern is to capture beauty wherever he finds it.

We are beginning to play with ideas of ecology, and although we immediately trivialize these into commerce or politics, there is at least an impulse still in the human breast to unify and thereby sanctify the total natural world, of which we are. ... There have been, and still are, in the world many different and even contrasting epistemologies which have been alike in stressing an ultimate unity, and, although this is less sure, which have also stressed the notion that ultimate unity is aesthetic. The uniformity of these views gives hope that perhaps the great authority of quantitative science may be insufficient to deny an ultimate unifying beauty. I hold to the presupposition that our loss of the sense of aesthetic unity was, quite simply, an epistemological mistake.

At last everything was satisfactorily arranged, and I could not help admiring the setting: these mingled touches betrayed on a small scale the inspiration of a poet, the research of a scientist, the good taste of an artist, the gourmet’s fondness for good food, and the love of flowers, which concealed in their delicate shadows a hint of the love of women

....it seems to me that a pleasurable Contemplation of Beauty has certainly an immeasurably greater value than mere Consciousness of Pleasure.

Everything good is good because of the love it contains.

The future will look futuristic only because we will be trying to make it look futuristic.

In the world there exists no aesthetic plane, not even the aesthetic plane of goodness.

I have been using art as a means to the emotions of life and reading into it the ideas of life.

[Hegel’s] system of nature seemed, at least to natural philosophers, absolutely crazy….Hegel…launched out with particular vehemence and acrimony against the natural philosophers, and especially against Isaac Newton. The philosophers accused the scientific men of narrowness; the scientific men retorted that the philosophers were insane.

He had never believed that spirituality had to be anemic or aesthetic.

Things wabi-sabi have no need for the reassurance of status or the validation of market culture. They have no need for documentation of provenance. Wabi-sabi-ness in no way depends on knowledge of the creator's background or personality. In fact, it is best if the creator is no distinction, invisible, or anonymous.

There was a product which seemed attractive, expensive, portable, beautiful and simple. Everybody talked about its beauty but they bought it for it's simplicity.

Aesthetic criticism returns us to the autonomy of imaginative literature and the sovereignty of the solitary soul, the reader not as a person in society but as the deep self, our ultimate inwardness.

More than once have I thought, Why does crime, even when as powerful as Cæsar, and assured of being beyond punishment, strive always for the appearances of truth, justice, and virtue? Why does it take the trouble? I consider that to murder a brother, a mother, a wife, is a thing worthy of some petty Asiatic king, not a Roman Cæsar; but if that position were mine, I should not write justifying letters to the Senate. But Nero writes. Nero is looking for appearances, for Nero is a coward. But Tiberius was not a coward; still he justified every step he took. Why is this? What a marvellous, involuntary homage paid to virtue by evil! And knowest thou what strikes me? This, that it is done because transgression is ugly and virtue is beautiful. Therefore a man of genuine æsthetic feeling is also a virtuous man. Hence I am virtuous.