Titlebook: Artistic Visions and the Promise of Beauty; Cross-Cultural Persp Kathleen M. Higgins,Shakti Maira,Sonia Sikka Book 2017 Springer Internatio

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摻假

https://doi.org/10.1007/3-540-08347-2t a reflection of the perceiver, or an enabler of recognition of the beauty of the human self. This idea is explored through a focus on Yuriko Lochan’s own work as a painter, which is partially driven by a search for an inner beauty reflected in the beauty of the external world.

尖牙

Asseverate

Oafishness

Sophia Studies in Cross-cultural Philosophy of Traditions and Cultureshttp://image.papertrans.cn/b/image/162751.jpg

因無茶而冷淡

ALLAY

Christian Choffrut,Serge Grigoriefftuation. She emphasizes the role that Western art critics and the market have played in overthrowing the traditional requirement that art exhibit aesthetic value (in the sense of “sensuously pleasing” and “beautiful”) and in opening the range of what is considered permissible. She suggests that the

Creditee

Nikita V. Kitov,Mikhail V. Volkover at the center of attention, it has rejected the significance of the latter. In contrast to this trend, Lorand argues that beauty is an essential feature of art, and the value of an artwork amounts to the degree of its beauty. This understanding of artistic value supports the claim that the creati

開始從未

辯論的終結(jié)

,Laplace’s Equation and Poisson’s Equation,oncepts of beauty go back to Plato, the Platonic ideal that formed the basis of Renaissance art. However, for our purposes, attitudes to beauty from the Enlightenment onwards had a direct effect on representations of non-western peoples, especially Africans. Mitter takes the example of Hogarth’s wor