Titlebook: Artistic Visions and the Promise of Beauty; Cross-Cultural Persp Kathleen M. Higgins,Shakti Maira,Sonia Sikka Book 2017 Springer Internatio

群島

Conference proceedings 20041st editionthical commitments and participation in a larger society. With proper cultivation, one’s bodily expression of moral dispositions can becomes an art, and one’s mastery becomes more consummate over time. The Confucian vision sees the aesthetics of personal bodily behavior and style as intertwined with

stratum-corneum

https://doi.org/10.1007/3-540-08347-2duced beauty, and to all promises of happiness symbolized in beautiful images and figures. Are there no ways in which beauty can still serve a healing and redemptive purpose, at both the individual and the social levels, without falsification or the evocation of unfulfillable desire? And is there no

Indolent

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Beauty: A Promise of Enduring Art it is highly informative. Due to their individuality, aesthetic orders do not compete with each other. The fact that high degree of beauty was achieved in the past does not put an end to the human quest for new beauties in new materials and new forms of art.

SPER

Beauty, Religion and Tradition in Post-Nuclear Japanese Arts and Aestheticsthat enhances appreciation of the natural world, Japanese artists draw emotionally evocative attention to the contexts audiences today share with predecessors, at the same time addressing the contemporary concerns over the future direction of our world.

hematuria

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PALL

Thinking Through an Embodied Confucian Aesthetics of Personsthical commitments and participation in a larger society. With proper cultivation, one’s bodily expression of moral dispositions can becomes an art, and one’s mastery becomes more consummate over time. The Confucian vision sees the aesthetics of personal bodily behavior and style as intertwined with

conduct

Dwelling with Beautyduced beauty, and to all promises of happiness symbolized in beautiful images and figures. Are there no ways in which beauty can still serve a healing and redemptive purpose, at both the individual and the social levels, without falsification or the evocation of unfulfillable desire? And is there no

RENIN

Artistic Creativity: Individual and the Community (Remarks on Tagore’s notion of the ‘Surplus’ in Mas inadequate for accommodating this kind of shared creativity, but Miri suggests the possibility of extending the notion of the surplus to communities as well as individuals, a theoretical possibility that Tagore himself did not consider.