Art is one of the cultural activities of man through which the artiste brings his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetic experience in its essence is indescribable and it does not occur in terms of conscious thought. The theory of art in West begins with the Plato’s imitative theory which proposed that art is imitative in nature. Aristotle also argued that art is representation of the ideal. Both Plato and Aristotle were forced to establish a theory of art based on their metaphysical views about the nature of the world. Immanuel Kant, representative of intellectualist theory said that art and beauty gives only a subjective satisfaction, we cannot speak of the beauty for the object in them. Schopenhauer profoundly presented the theory of art as the withdrawal of the will.

Let us discuss the theory of art from different perspectives:

Art as Imitation/Mimesis-

PLATO- IMITATIVE THEORY OF ART

Plato is the first philosopher who made a systematic analysis of the mimetic tendency in art.

Mimesis is basic theoretical principle in the creation of art. The word is Greek and means “imitation” (though in the sense of “re-presentation” rather than of “copying”). Plato and Aristotle spoke of mimesis as the re-presentation of nature. According to Plato, all artistic creation is a form of imitation: that which really exists (in the “world of ideas”) is a type created by God; the concrete things man perceives in his existence are shadowy representations of this ideal type. Therefore, the painter, the tragedian, and the musician are imitators of an imitation, twice removed from the truth. Thus, an artist, by skilfully selecting and presenting his material, may purposefully seek to “imitate” the action of life. Western art theory has long been dominated by the idea that art should imitate the world around us. This concept, known as “art as imitation,” has been explored by many influential thinkers throughout history, from Plato to Kant. At its core, art as imitation is the idea that art should be an accurate reflection of the world we live in. This idea can be traced back to Plato, who believed that art should be an imitation of eternal truths and immutable forms. For Plato, the world around us is an imitation of these higher forms. Therefore, art should strive to imitate these higher forms in order to accurately reflect the world. Kant, on the other hand, believed that art should be an imitation of the aesthetic experiences of the artist. Kant argued that art should be an expression of the artist’s emotions and feelings about the world. Therefore, art should be a reflection of the artist’s subjective experiences, rather than an accurate reflection of the external world. These two views of art as imitation have been influential in shaping the development of Western art. Plato’s view has been particularly influential in the development of realism, while Kant’s view has been influential in the development of impressionism and abstract art. Despite the fact that art as imitation has been a central tenet of Western art theory, it is important to remember that art is not just an imitation of the world around us. Art can also be an expression of the artist’s inner world, and an exploration of the artist’s imagination. Therefore, art can be both an imitation of the external world and an exploration of the internal world. In the end, art as imitation is an important concept for understanding the development of Western art. However, it is just one of many ideas that have influenced the development of art throughout history. Therefore, it is important to keep an open mind to the various different ways in which art can be created and appreciated.

Plato made certain statements about art which are considered to be of utmost value to the later thinkers on art. These statements are mentioned here under.

1. Art is an imitation of nature.
2. Art is a product of emotional propensity and not intellectual faculty of man.
3. Art shows a mirror-like reflection of all aspects of outer forms of life but doe not enlighten the viewer about the essential inner truths about reality because they can never be imitated by the artist.
4. Imitation is always of the external form of the object and cannot be anything more than that creation of art, poetry in particular, is not in a normal state of the mind, but in a state of ‘muse’ or some kind of fit of madness.

ARISTOTLE – REPRESENTATION THEORY OF ART

Aristotle, disciple of Plato, while speaking the same language of his predecessors, modifies the theory of imitation to a theory of representation. Art attains its complete being only within the mind of a person for whom it is created. Thus, the truth of art is subjective because art is an immediate experience of an experiencing mind. Artistic creation, says Aristotle, essentially the form of art is an imitation of reality; it holds the mirror up to nature. Imitating in this sense is impossible for various reasons. Aristotle points out that the difficulty in producing the artifacts which bear resemblance with nature is due to the difference of material used by the artist as his medium.  The concept of Catharsis in Western aesthetics arose out of speculation on Aristotle’s remark in his Poetics that in a tragedy there should be, among other things, incidents arousing pity and fear, wherewithal to accomplish its Catharsis of such emotions. His theory of Catharsis pinpoints the capacity of tragedy to move the spectators thoroughly and by arousing fear and sympathy for the suffering characters; it brings about a purging of his narrowness of mind and makes him learn to identify himself with the human misery in general. The Aristotelian theory had a far reaching influence in the years to come in the European thinking.

IMMANUEL KANT – INTELLECTUAL THEORY OF ART

Kant occupies an important place in the development of German thought as a real speculative genius. According to Kant, art is not the pure beauty. Artistic beauty is not a beautiful thing but the beautiful representation of a thing. Art may be there to represent natural ugliness. Kant also admits that there may be artistic production without any concept. Similarly, the aesthetics theory of Kant is little influenced by moral consideration. Kant made art autonomous and non-moral, nevertheless, he spoke of art being a symbol of morality and founding this moral feeling on the basis of the universality and necessity of aesthetic judgment. Kant believes that the key to the situation is our judgment of a pleasure universally communicable, yet independent of concept. The pleasure accompanying a perception is a subjective element which tells us nothing about the nature of the object. Kant substantiates the statement that the aesthetic judgment gives no information about the nature of the object. The recognition of beauty gives us no knowledge of the nature of things. Beauty is not to be identified with the desirable or with the moral nor can it be confounded with sensation. Kant beauty implied liberation from selfishness and wants. The genius creates spontaneously and is dominated by original inspiration. It is impossible to achieve academic greatness in arts again according to Kant the artistic genius must constitute elements namely imagination and intellect.

All the theories above stated, stem from art as imitation, each with their own rationale and perspective about it.

Art as communication

The idea of art as communication is a central component of Western art theory. Art is understood to be a vehicle for conveying meaning, emotion, and ideas. It is a language that can be used to express one’s feelings, thoughts, beliefs, values, and perspectives. Art can be used as a form of communication between the artist and the viewer, as well as between the artist and society. The idea of art as communication is rooted in the notion that art is a form of visual expression. It is the artist’s attempt to communicate something to the viewer, whether it is a message, an emotion, an idea, or even a question. This idea is particularly evident in the work of Abstract Expressionists such as Jackson Pollock and Mark Rothko, who sought to express their own inner emotions and feelings through their artwork. The idea of art as communication is also reflected in the history of art movements, such as the Renaissance, Baroque and Romanticism. During the Renaissance, for example, artists sought to communicate ideas of the Renaissance ideals of humanism and the importance of the individual. During the Baroque period, artists sought to communicate the Catholic Church’s power and influence, while the Romantics sought to communicate feelings of beauty and emotion. For many contemporary artists, the idea of art as communication is still a central component of their work. Contemporary artists such as Yayoi Kusama and Ai Weiwei use their artwork to communicate political and social messages, while other artists such as Tracey Emin and Damien Hirst use their work to explore personal issues such as identity and relationships. In the end, the idea of art as communication is an important aspect of the Western art tradition. It is a way for artists to express their feelings and beliefs, and to communicate their ideas to the viewer. It is also a way for the artist to engage with society, to challenge existing beliefs and to create dialogue, debate and contemplation.

Art as Unity

Western art theory has long been focused on the concept of art as a unified whole. This idea of unity, or the concept of art as a single unified entity, has been central to much of the Western art tradition. This concept is based on the idea that art is a unified work of beauty, with each individual element, both material and conceptual, working together to create a harmonious and unified whole. The idea of art as unity has been applied to many different art forms, such as painting, sculpture, architecture, and music. In painting, the elements of line, color, texture, and shape are all used to create a unified composition. In sculpture, the elements of form and texture are used to create a unified piece. In architecture, the elements of space, form, and materials are used to create a unified structure. In music, the elements of melody, harmony, and rhythm are used to create a unified composition. In all of these art forms, the idea of unity is essential. Each element works in harmony with each other to create a unified whole. This concept of unity has been a driving force in Western art since the Renaissance. It has been used to create some of the most beautiful and enduring works of art in history. The idea of art as unity has also been used to create some of the most famous works of art in history. For example, the works of Leonardo da Vinci, Michelangelo, and Rembrandt are known for their use of unity in their compositions. Their works are seen as unified wholes, with each individual element working together to create a unified composition. The idea of art as unity has been used to create some of the most influential works of art in history. For example, the works of Picasso and Matisse are known for their use of unity in their compositions. These works are seen as unified wholes, with each element working together to create a unified composition. The concept of art as a unified whole has been a driving force in Western art for centuries. It has been used to create some of the most beautiful and enduring works of art in history. This concept of unity has been used to create some of the most influential works of art in history. This concept of unity is essential to the Western art tradition and will continue to be an important concept in the future of art.

Art as beauty

The concept of “art as beauty” is a cornerstone of Western art theory, with its roots stretching back to the ancient Greeks. The idea is that beauty is the most important aspect of art and that artistic expression should strive to create objects of beauty. This concept has been at the center of Western art since its inception and has been used to define and judge artistic quality for centuries. The concept of beauty as the primary purpose of art was first articulated by the ancient Greek philosopher Plato. He argued that the purpose of art was to create beauty and that all other aspects were secondary. This idea has since been adopted by many Western artists, who have sought to create artwork that is aesthetically pleasing and beautiful. In the Middle Ages, the concept of art as beauty was further developed in the works of artists such as Giotto and Botticelli. They aimed to create paintings that were both beautiful and meaningful. This focus on beauty was a major influence on the Renaissance, when artists such as Leonardo da Vinci and Michelangelo strived to create paintings and sculptures that were breathtakingly beautiful. In the modern era, the concept of art as beauty has continued to be an important element of Western art. Many contemporary artists still strive to create artwork that is beautiful and meaningful. This includes abstract expressionists such as Jackson Pollock, who sought to create artwork that was visually and emotionally powerful, as well as more traditional painters such as Mark Rothko, who wanted to create art that was simply beautiful. The concept of art as beauty is a cornerstone of Western art theory and has had a major influence on the development and appreciation of art for centuries. It is an idea that has been embraced by many different types of artists, from the ancient Greeks to modern-day painters and sculptors. The idea is that beauty should be the primary goal of art, and that all other aspects should be secondary. This concept is still used by many artists today and is likely to remain an important part of Western art theory for many years to come.

Art as Imagination

The concept of art as imagination is one of the cornerstones of Western art theory. This theory was first developed by the German Romantic philosopher, Immanuel Kant, in the late eighteenth century. Kant argued that art was fundamentally an expression of the artist’s imagination, not just a physical representation of reality. He also claimed that imagination was essential for the appreciation of art, as it allowed us to create new ideas and experiences. This theory of art as imagination has been further developed and refined by many other theorists since Kant’s time. One of the most influential of these was the French philosopher, Maurice Merleau-Ponty, who argued that imagination is the essential element in all artistic creation. He proposed that it is through imagination that we can create a world that is beyond what is immediately visible or perceptible. Merleau-Ponty’s ideas have been widely influential in the development of abstract art, as well as in the development of modernist and postmodernist art. The concept of art as imagination has also been used to explore the idea of creativity in general. Many theorists have argued that imagination is an essential part of the creative process, and that it is through the imaginative act that we come up with new ideas and discover new ways of looking at the world. This idea has also been used to examine the relationship between art and science. Many theorists have argued that imagination is essential for scientific breakthroughs, as it allows us to come up with new hypotheses and test existing theories. Finally, the concept of art as imagination has been used to explore the nature of beauty. Many theorists have argued that imagination is essential for the appreciation of beauty, as it allows us to create a unique vision of the world. This has been particularly influential in the development of modernist and postmodernist art, which has sought to question traditional notions of beauty and create new visions of beauty. Overall, the concept of art as imagination has been an important part of Western art theory for centuries. It has been used to explore the relationship between art and creativity, as well as the nature of beauty. It has also been influential in the development of abstract art and modernist and postmodernist art. As such, it is an important concept to consider when thinking about art and its role in society.

ARTHUR SCHOPENHAUER – CONTEMPLATIVE THEORY OF ART

Schopenhauer profoundly presented the theory of art as the withdrawal of the will. The elevation of the mind to the will-less contemplation of truth, is the function of art. The object of science is the universe that contains many particulars; the object of art is the particular that contains a universal. Art is greater than science because the latter proceeds by laborious accumulation and cautious reasoning, while the former reaches its goal at once by intuition and presentation; science can get along with talent, but art requires genius. Genius is the highest form of will-less knowledge, The lowest forms of life are entirely made up of will, without knowledge; man in general is mostly with and little knowledge; genius is mostly knowledge, and little will.

This involves some passage of force out of reproductive into intellectual activity. Similarly, tragedy may take aesthetic value, by delivering as from the strife of the individual will and enabling us to see of our suffering in a larger view. Art alleviates the ills of life by showing as the eternal and universal behind the transitory and the individual.

In conclusion, Western art theory is a rich and diverse field that encompasses various perspectives on the nature and purpose of art. From Plato’s imitative theory, which views art as a representation of eternal truths, to Aristotle’s representation theory that emphasizes the subjective experience of art, these foundational ideas have shaped our understanding of artistic creation and appreciation. Immanuel Kant’s intellectualist theory further expanded the discourse by proposing that beauty and art provide subjective satisfaction, independent of the object’s nature. Schopenhauer’s contemplative theory introduced the concept of art as a means of achieving will-less contemplation and universal truths.

The exploration of art as imitation, communication, unity, beauty, and imagination has been central to Western art theory. Each perspective offers unique insights into how art functions as a reflection of reality, an expression of the artist’s inner world, and a unifying force that harmonizes various elements to create a cohesive whole. Art as communication highlights the artist’s role in conveying emotions, ideas, and messages to the viewer and society, while art as unity highlights the harmonious interplay of different artistic components. The notion of art as beauty, deeply rooted in ancient Greek philosophy, continues to influence contemporary artists who strive to create aesthetically pleasing and meaningful works.

Art as imagination, a concept developed by Kant and later expanded by philosophers like Maurice Merleau-Ponty, emphasizes the creative and innovative aspects of artistic expression. This perspective has been instrumental in the development of abstract, modernist, and postmodernist art, challenging traditional notions of beauty and representation.

Overall, Western art theory provides a comprehensive background for understanding the multifaceted nature of art. It encourages us to appreciate the diverse ways in which art can be created, experienced, and interpreted, reminding us that art is not merely an imitation of the external world but also a profound exploration of the human condition and the limitless possibilities of the imagination.