Warstwy Nr 3 (2019)
URI dla tej Kolekcjihttp://repozytorium.ur.edu.pl/handle/item/6264
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Przeglądanie Warstwy Nr 3 (2019) według Temat "beauty"
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Pozycja Zatrzymując spojrzenie, pejzażowa konieczność(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Balicki, JacekLandscapes belong to the system of symbolic forms. The structure of perceiving and expressing nature through art is manifested first as metahistorical and eternal, second, as a place of human existence, thus historical, solar time. Et in Arcadia ego is close to the reflections of Simone Weil cited by Janusz Krupiński. Beauty is harmony, therefore opposites must coexist; whereas necessity means suffering because in the Pythagorean aesthetics, harmony entails tension suffering is connected with. The world imagined by me, disregarding a concrete object, becomes a kind of painter’s longing, metaphorical and impressionistic, and through contemplation and reflection it is meant to encourage the viewer to explore truth in nature and the truth about man. As Janusz Karpiński observes, the category of a painting is a central category of human world, and landscape is a border case of transformation in which nature enters human world.Pozycja Żyć, aby patrzeć. Refleksje o pięknie i użyteczności(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Nowak, WitoldThe paper analyzes the relation between beauty and utility. The author examines those two values using examples from architecture, interior design, hand-icrafts and mass production. He advances the thesis that the order of beauty and the order of utility need not be separated or absolutized, particularly as regards the latter. He distinguishes between utility in a narrow sense, which is meant to satisfy current and basic needs, and utility in a broader sense, where what is beautiful usually turns out useful, as it provides energy to live, brings joy and aesthetic pleasure. Beautiful objects can also enhance social prestige of creators, customers and owners.