পাতা:সৌন্দর্য্য তত্ত্ব - অভয় কুমার গুহ.pdf/২৭৩

giffs ૨8> He who takes for his podel the forms which Nature produces, and keeps to a literal imitation of these can never reach what is perfectly beautiful. Nature is full of disproportion, and falls short of the true standard of Beauty.' Aroclus. Since alf individual object had some fault or defect, the excellence of ancient Art seemed to him to consist in this, that “as the bee gathers from many flowers, so were the ideas of beauty brought together from many different quarters.' The selection of the most beautiful elements, and their harmonious union, produced the ideal, which was the highest possible beauty, and which existed, not in outward nature, but in the mind alone.' Winckelmann in Anight's Ahilosophy of the Aeautiful.Y "Lessing may be described as an eighteenth century Aristotelian, who maintained the function of Art was solely and simply to reflect the Beautiful.” Aessing in Saight's Philosophy of the ABeautiful. “The spirit of the real is the true ideal, but the artist is higher than art, and higher than his object.' Goethe. “Art is Art precisely becausę it is not Natuse.” Goethe. “To define Art as the mere imitation of Nature, strikes at its very root ; and as Nature is inexhaustible, Art is illimitable." Afriedrich Von Schlegel. “Art is the faculty of making lmagination productive, according to law.' Alumboldt. “The artist, according to Vischer, does not find the Beautiful by any imitation of the actual. He does not indulge in the mere copy-work of the photographer, nör