পাতা:সৌন্দর্য্য তত্ত্ব - অভয় কুমার গুহ.pdf/২৭৪

Rb শ্ৰেীক্তদৰ্য্যস্তত্ব । tdoes he find it by imaginatively breaking with Nature, for that would only, yield the fantastic. He does something very differint. He pierces to the core of Nature. He finds its secret by"getting to its centre, and apprehending its ideal.” Zheodor Vischer in Antght's Philosophy of the Reautiful. "In its he refers to the two historical sehools, which have given, rise to opposite tendencies-the first (dating from Plato), which affirms that in Art we are able to transcend the beauty of Nature, and that we find in the soul a criterion of what is and what is not beautiful in Nature ; the second, which says all we can do in Art is to collect and combine the Beauties which Nature exhibits. He holds that each of these is partly right and partly wrong. The empiricists are right in laying stress on the psychological and physiological elements in aesthetics; but they only succeed in proving the "world-citizenship' of the beautiful. The idealists, again, are right in tracing the origin of aesthetic judgment to something which lies beyond consciousness, antecedent, and apriori. The abstract ideal of the intuitionalists, as a vague unity is untenable. The Beautiful must incarnate itself in the concrete, and can thus only be understood. Nevertheless aesthetic carries with it, and in it, a formal principle ; and it is only when the ideal is unconsciously made real, when the abstract is embodied in the concrete, that the Beautiful is understood.' Aartmann in Knight's Philosophy of the Eeautiful. “Art creates, as imagination pictures, regularly with out conscious law, designedly without conscious aim.” Ajelmholts.