Abstract
One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mind in the observer (whether emotional, intellectual, or some combination of the two). Works of fine art, being geared to reflective appreciation, are at home in institutional environments that are free from the distractions of everyday life, such as the concert hall or the museum.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
