Abstract
The word “aesthetics” belongs to the field of the science and philosophy of fine art. Fine art has the capacity to present the “Absolute” in sensuous garb and aesthetic relation. Indian aesthetics is primarily concerned with three arts—poetry, music, and architecture—however, sculpture and painting are also studied under aesthetic theories. Poetry is the highest form of literature. Indian art is the art of sign and symbols. This can be seen in the art practice of the eleven participating artists in “From the Tree to the Seed.” The “adequacy” and “inadequacy” of symbols are directly related to their “truth” and “frailty.” This adequacy or inadequacy of the symbol is determined by the degree to which it symbolises its referent symbol of art, because by being its likeness its “truth” is iconic and becomes the projection of its intended referent. Consequently, it communicates super-sensuous truths or forms. Hence, when symbols of art lack the attribute of likeness, it leads to frailty. Alternatively, these symbols raise poetry to the mount of aesthetic pleasure.
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