Estetika grdega v kiparstvu

Abstract

Keywords

Data

Language:	Slovenian
Year of publishing:	2011
Source:	Ljubljana
Typology:	2.11 - Undergraduate Thesis
Organization:	UL PEF - Faculty of Education
Publisher:	[K. Vresk]
UDC:	73(043.2)
COBISS:	8956233
Views:	1988
Downloads:	312
Average score:	0 (0 votes)
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Other data

Secondary language:	English
Secondary title:	Anti-aesthetic in sculpture
Secondary abstract:	From prehistoric Venuses and their attributes, praising fecundity and fertility of soil with representing emphasised woman body parts, hence, till mathematical preciseness of men muscularity of Greeks' antiquity. When theory and history of art becomes conscious written source and instrument, which fulfils the human need to cultivate and civilise oneself. When the idea awakens in order to have a need for dividing art on beauty and what is not art at all, man introduces new concept and carries out a science which then establishes the frames of what is beautiful in art. The discussion is about an object, which is beautiful and therefore it is aesthetical. Placing the aesthetic ideas, which intentionally or unintentionally ties with the past eather by imitating or deplenishing from it. Infusion of increasingly more subjectiviness, authorial originality and consequently breaking former aesthetical and setting aesthetical now. Eventually, the conscious surch of new beauty in abstraction of already known. Because of the aesthetic muddle folows the answer on it with putting the object from every-day life, intended in usage for man part of population, on pedestal as an object without any aesthetic value or just for brief moment and only in creators' head. Aesthetic standard becomes radically transformed and aesthetic valuation with it, which becomes contemplated activity, strongly supported with concept. With concept of »no more beautiful« or anti-aesthetic. What or who is the factor, which dictate the aesthetic standard and what standard it is? From whose eyes, which observer, user, beholder, what kind of intellect of specific culture and importance of its general sophistication, what are economics interests, is there a presence of industrialization or already a deep globalisation are some features, which determine the flow of new aesthetic standards or suppression of it. There are innumerable causes, actual actions and realisations and consequences which sculptural art portrays with examples, which in this assignment are exposing the anti-aesthetic in sculpture from the perspective of the European man.
Secondary keywords:	sculpture;aesthetics;kiparstvo;estetika;
File type:	application/pdf
Type (COBISS):	Undergraduate thesis
Thesis comment:	Univ. Ljubljana, Pedagoška fak., Likovna pedagogika
Pages:	63 f.
Type (ePrints):	thesis
Title (ePrints):	Anti-aesthetic in sculpture
Keywords (ePrints):	estetika
Keywords (ePrints, secondary language):	aesthetic
Abstract (ePrints):	Od prazgodovinskih Vener in atributov, ki opevajo plodnost in rodovitnost zemlje s poudarjenimi deli ženskega telesa, do matematične natančnosti moške muskulature grške antike. Ko teorija in zgodovina umetnosti postaneta zavesten pisni vir in orodje, ki izpopolnjuje človekovo potrebo po kultiviranosti in civiliziranosti. Ko se prebudi ideja, da moramo deliti umetnost na lepo in neumetnost, človek vpelje nov pojem in izpelje vedo, ki postavlja okvirje lepe umetnosti. Govori se o predmetu, ki je estetski, zatorej je umetniški. Postavljanje estetskih idealov, ki se hote ali nehote navezujejo na preteklost bodisi s posnemanjem ali črpanjem iz nje. Vnašanje čedalje bolj subjektivnega, avtorsko izvirnega in posledično rušenje nekdaj estetskega v postavljanje zdaj estetskega. In naposled zavestno iskanje nove lepote v abstrakciji že poznanega. Na estetsko zmedo pa sledi odgovor s postavitvijo predmeta iz vsakdanjega življenja, namenjenega uporabi moškega dela populacije, na piedestal kot umetniški predmet, ki nima nikakršne estetske vrednosti oziroma le za trenutek in še to le v umetnikovi glavi. Radikalno se preoblikujejo estetska merila in s tem estetsko vrednotenje, ki postane poglobljena dejavnost, močno podprta s konceptom. S konceptom »ne več lepega« oziroma estetike grdega. Kaj ali kdo je tisti akter, ki narekuje merila estetike in kakšna so ta merila? Skozi čigave oči, katerega opazovalca, uporabnika ali gledalca, v katerem času in katerem prostoru, s kakšnim intelektom svoje kulture in pomembnosti njene splošne razgledanosti, kakšni so ekonomski interesi, ali je prisotna industrializacija ali že globlja globalizacija so nekatere lastnosti, ki določajo tok novih ali zadrževanje nekdanjih estetskih meril. Našteto vzrokov, dejanskih akcij in udejanjenj in posledic slikovito opisuje kiparska umetnost in njenimi primeri, ki v tej nalogi izpostavljajo estetiko grdega s perspektive sodobnega evropskega človeka
Abstract (ePrints, secondary language):	From prehistoric Venuses and their attributes, praising fecundity and fertility of soil with representing emphasised woman body parts, hence, till mathematical preciseness of men muscularity of Greeks' antiquity. When theory and history of art becomes conscious written source and instrument, which fulfils the human need to cultivate and civilise oneself. When the idea awakens in order to have a need for dividing art on beauty and what is not art at all, man introduces new concept and carries out a science which then establishes the frames of what is beautiful in art. The discussion is about an object, which is beautiful and therefore it is aesthetical. Placing the aesthetic ideas, which intentionally or unintentionally ties with the past eather by imitating or deplenishing from it. Infusion of increasingly more subjectiviness, authorial originality and consequently breaking former aesthetical and setting aesthetical now. Eventually, the conscious surch of new beauty in abstraction of already known. Because of the aesthetic muddle folows the answer on it with putting the object from every-day life, intended in usage for man part of population, on pedestal as an object without any aesthetic value or just for brief moment and only in creators' head. Aesthetic standard becomes radically transformed and aesthetic valuation with it, which becomes contemplated activity, strongly supported with concept. With concept of »no more beautiful« or anti-aesthetic. What or who is the factor, which dictate the aesthetic standard and what standard it is? From whose eyes, which observer, user, beholder, what kind of intellect of specific culture and importance of its general sophistication, what are economics interests, is there a presence of industrialization or already a deep globalisation are some features, which determine the flow of new aesthetic standards or suppression of it. There are innumerable causes, actual actions and realisations and consequences which sculptural art portrays with examples, which in this assignment are exposing the anti-aesthetic in sculpture from the perspective of the European man.
Keywords (ePrints, secondary language):	aesthetic
ID:	8308277