Module Content: Art Appreciation

Module FUNCTIONS AND PHILOSOPHICAL

Descriptor:
PERSPECTIVE ON ART
Nominal
Duration:

INTRODUCTION
This book presents a series of lessons devoted to two of the most
fundamental topics in the philosophy of art: the distinctive character of
artworks and what is involved in understanding them as art. What is the
philosophical perspective on art? What is the function of art and philosophy?
What is the different philosophical perspective? Aesthetics or philosophy of art
is concerned with the nature of beauty, the judgment of taste, and with criteria
for deciding what good art is. A central question is whether artistic excellence
refers to that which best: imitate natural phenomena; reflects the universal
(Platonic) form of beauty; express human emotion and sentiment; or promote
social reform and an ethic for living? Given the wide variety of art forms and
modalities of artistic expression, it is not surprising to find that there is a
continuing and lively debate on these issues and on the determination of
artistic quality. Opinions on art typically range from optimistic views that
quality art is still being produced and that philosophy of art has been re-
invigorated by closer involvement with the practice of arts, feminism and
the cultural role of art; to pessimistic observations about the “end of art‟,
and aesthetics as mere criticism or commentary on prior art.

LEARNING OUTCOMES
Upon completion of the module the students should be able to:

1. distinguish between directly functional and indirectly functional art;

2. explain and discuss the basic philosophical perspective on the art;
3. realize the function of some art forms in daily life, and
4. apply concepts and theories on beauty and aesthetics in real life
scenarios

LEARNING CONTENT
  The Greek Philosopher Aristotle claimed that every particular substance
in the world has an end, telos which translate to “purpose”.

 When Aristotle defined telos, it was in the context of a

lengthy argument about politics, or politke in Greek, which referred to
the political and social structures of city-states, not everything that we
call politics today.  Aristotle claimed that politics was the ultimate arena
for the creation of eudemonia (human well-being) – that a person can,
most likely, fulfill their telos only to the degree that his or her social and
political environment facilitates it. This idea was central to the American
founding fathers, who wrote in the “Declaration of Independence” that all
humans are born with the right to “life, liberty, and the pursuit of
happiness.” It has also become the central philosophy of most modern
states, especially in Europe, where most nations now provide full free
education, health care, and other benefits (such as paternity leave) to
their citizens. Before the 19th century, most nations had no such
obligations to their citizens (even though the Greeks had progressed far
down that road long ago).

https://philosophyterms.com/telos/

Functions of Art

 Architecture for example as an art is highly functional just like most

applied arts.
 The Taj Mahal, a massive mausoleum of white marble build in Agra was
constructed in memory of the favorite wife of emperor, Shah Jahan.
 The two masterpieces of our National Hero, Dr. Jose P. Rizal, The Noli Me
Tangere and El Filibusterismo served as catechist for Filipino
revolutionaries to gather strength in rejecting the oppressive focus on the
Spaniards in the Philippines in the nineteenth century.

Reading: Purpose of Art

Art has had a great number of different functions

throughout its history, making its purpose difficult to
abstract or quantify to any single concept. This does not
imply that the purpose of art is “vague” but that it has had
many unique, different reasons for being created. Some of
the functions of art are provided in the outline below. The
different purposes of art may be grouped according to
those that are non-motivated and those that are motivated
(Lévi-Strauss).

Non-motivated Functions of Art

The non-motivated purposes of art are those that are integral to being
human, transcend the individual, or do not fulfill a specific external purpose.
In this sense, art, as creativity, is something humans must do by their very
nature (i.e., no other species creates art), and is therefore beyond utility.
 1. Basic human instinct for harmony, balance, rhythm. Art at this level
is not an action or an object, but an internal appreciation of balance and
harmony (beauty), and therefore an aspect of being human beyond utility.

Imitation, then, is one instinct of our nature. Next, there is the

instinct for ‘harmony’ and rhythm, meters being manifestly sections of
rhythm. Persons, therefore, starting with this natural gift developed by
degrees their special aptitudes, till their rude improvisations gave
birth to Poetry. —Aristotle

2. Experience of the mysterious. Art provides a way to experience one’s

self in relation to the universe. This experience may often come
unmotivated, as one appreciates art, music or poetry.

The most beautiful thing we can experience is the mysterious. It is the

source of all true art and science. —Albert Einstein

3. Expression of the imagination. Art provides a means to express the

imagination in nongrammatic ways that are not tied to the formality of
spoken or written language. Unlike words, which come in sequences and
each of which have a definite meaning, art provides a range of forms,
symbols and ideas with meanings that are malleable.

Jupiter’s eagle [as an example of art] is not, like logical (aesthetic)

attributes of an object, the concept of the sublimity and majesty of creation,
but rather something else – something that gives the imagination an
incentive to spread its flight over a whole host of kindred representations that
provoke more thought than admits of expression in a concept determined by
words. They furnish an aesthetic idea, which serves the above rational idea
as a substitute for logical presentation, but with the proper function,
however, of animating the mind by opening out for it a prospect into a field of
kindred representations stretching beyond its ken.  —Immanuel Kant

4. Ritualistic and symbolic functions. In many cultures, art is used in

rituals, performances and dances as a decoration or symbol. While
these often have no specific utilitarian (motivated) purpose,
anthropologists know that they often serve a purpose at the level of
meaning within a particular culture. This meaning is not furnished by
any one individual, but is often the result of many generations of
change, and of a cosmological relationship within the culture.

Most scholars who deal with rock paintings or objects recovered from
prehistoric contexts that cannot be explained in utilitarian terms and are
thus categorized as decorative, ritual or symbolic, are aware of the trap posed
by the term “art.”
—Silva Tomaskova
Motivated Functions of Art

Motivated purposes of art refer to intentional, conscious actions on the part

of the artists or creator. These may be to bring about political change, to
comment on an aspect of society, to convey a specific emotion or mood, to
address personal psychology, to illustrate another discipline, to (with
commercial arts) to sell a product, or simply as a form of communication.

1. Communication. Art, at its simplest, is a form of communication. As

most forms of communication have an intent or goal directed toward
another individual, this is a motivated purpose. Illustrative arts, such as
scientific illustration, are a form of art as communication. Maps are
another example. However, the content need not be scientific. Emotions,
moods and feelings are also communicated through art.

[Art is a set of] artifacts or images with symbolic meanings as a means

of communication. —Steve Mithen

2. Art as entertainment. Art may seek to bring about a particular emotion

or mood, for the purpose of relaxing or entertaining the viewer. This is
often the function of the art industries of Motion Pictures and Video
Games.

3. The Avante-Garde. Art for political change. One of the defining

functions of early twentieth-century art has been to use visual images
to bring about political change. Art movements that had this goal—
Dadaism, Surrealism, Russian constructivism, and Abstract
Expressionism, among others—are collectively referred to as the avant-
garde arts.

By contrast, the realistic attitude, inspired by positivism, from Saint

Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any
intellectual or moral advancement. I loathe it, for it is made up of mediocrity,
hate, and dull conceit. It is this attitude which today gives birth to these
ridiculous books, these insulting plays. It constantly feeds on and derives
strength from the newspapers and stultifies both science and art by
assiduously flattering the lowest of tastes; clarity bordering on stupidity, a
dog’s life. —André Breton (Surrealism)

4. Art as a “free zone,” removed from the action of the social censure.

Unlike the avant-garde movements, which wanted to erase cultural
differences in order to produce new universal values, contemporary art
has enhanced its tolerance towards cultural differences as well as its
critical and liberating functions (social inquiry, activism, subversion,
deconstruction…), becoming a more open place for research and
experimentation.
5. Art for social inquiry, subversion, and/or anarchy. While similar to
art for political change, subversive or deconstructivist art may seek to
question aspects of society without any specific political goal. In this case,
the function of art may be simply to criticize some aspect of society.
 Spray-paint graffiti on a wall in Rome

Graffiti art and other types of street art are graphics and images that are
spray-painted or stenciled on publicly viewable walls, buildings, buses, trains,
and bridges, usually without permission. Certain art forms, such as graffiti,
may also be illegal when they break laws (in this case vandalism).

6. Art for social causes. Art can be used to raise awareness for a large
variety of causes. A number of art activities were aimed at raising
awareness of autism, cancer, human trafficking, and a variety of other
topics, such as ocean conservation, human rights in Darfur, murdered
and missing Aboriginal women, elder abuse, and pollution. Trashion,
using trash to make fashion, practiced by artists such as Marina DeBris
is one example of using art to raise awareness about pollution.

7. Art for psychological and healing purposes. Art is also used by art

therapists, psychotherapists and clinical psychologists as art therapy.
The Diagnostic Drawing Series, for example, is used to determine the
personality and emotional functioning of a patient. The end product is not
the principal goal in this case, but rather a process of healing, through
creative acts, is sought. The resultant piece of artwork may also offer
insight into the troubles experienced by the subject and may suggest
suitable approaches to be used in more conventional forms of psychiatric
therapy.

8. Art for propaganda or commercialism. Art is often utilized as a form

of propaganda, and thus can be used to subtly influence popular
conceptions or mood. In a similar way, art that tries to sell a product also
influences mood and emotion. In both cases, the purpose of art here is to
subtly manipulate the viewer into a particular emotional or psychological
response toward a particular idea or object.

9. Art as a fitness indicator. It has been argued that the ability of the
human brain by far exceeds what was needed for survival in the ancestral
environment. One evolutionary psychology explanation for this is that the
human brain and associated traits (such as artistic ability and creativity)
are the human equivalent of the peacock’s tail. The purpose of the male
peacock’s extravagant tail has been argued to be to attract females.
According to this theory superior execution of art was evolutionarily
important because it attracted mates.

The functions of art described above are not mutually exclusive, as many of
them may overlap. For example, art for the purpose of entertainment may also
seek to sell a product (i.e. a movie or video game).

https://courses.lumenlearning.com/suny-masteryart1/chapter/oer-1-2/

Personal Functions of Art

 1. The Personal Function of Art Vehicles for the expression and
communication of feelings and ideas Therapeutic Value Defense against
the many unpleasant and strident sounds and sights Art educate the
senses and sharpen our perception of colors, forms, textures, designs,
sounds, rhythms and harmonies in our environment.

 The personal functions of art are varied and are highly subjective.
This means that it depends on the person-the artist who created
the art.
 An art may also be therapeutic. In some
orphanages and home for abandoned elders, art
is used to help residents process their emotions
or while away their time.

Ex. An adult colouring book

https://www.google.com/url?sa=i&url=https%3A%2F
%2Fwww.amazon.com%2FAdult-Coloring-Book-Relaxation-Mandalas%2Fdp
%2F1514186373&psig=AOvVaw1YzqsHEYYxc_fM1dH0n7tD&ust=1595837304
822000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMCXnbC76uoCFQAAA
AAdAAAAABAD

Social Functions of Art

Social functions if and when it addresses a particular

collective interest as opposed to a personal interest. Ex.
Political art, photography, pictures of poverty, performance
art.

https://www.google.com/url?sa=i&url=https%3A%2F
%2Fwww.eastcityart.com%2Fopenings-and-events%2Fcenter-for-
contemporary-political-art-presents-walls-of-demand-group-exhibition
%2F&psig=AOvVaw1eBK6SCTdpQC6cktMNvSNC&ust=1595837596072000
&source=images&cd=vfe&ved=0CAIQjRxqFwoTCJC7-
8O86uoCFQAAAAAdAAAAABAD

 . Social Functions of Art 1. it seeks or tends to influence the collective

behavior of a people 2. It is created to be seen or used primarily in public
situations 3. It expresses or describes social or collective aspects of
existence as opposed to individual and personal kinds of experiences.
 - Influencing Social Behavior of Art is an ideological tool Subliminal
forms of social control shown especially in the political game in the
Philippines It is use to ridicule people and institutions Religion
capitalized the art in spreading faith and doctrines Advertisements,
posters and billboards

- Display and Celebration- a statues and sculpture commemoration

of the great people in the land almost all parks in the country had
the statue of Rizal Imagine Edsa and the mural erected in the place
b. Rituals and festivals employ arts be it Christmas, holy week,
and any other celebrations

- Social Description describing social milieu in a given particular

context artifacts Serves as clues to the history of certain
civilization and generation

Physical Functions of Art

 Easiest to spot and understand. It can be found in artworks that are

crafted in order to serve some physical purpose.

Examples: Japanese Raku bowl, Architecture jewelry making, and even

interior designs. (1) Physical Functions of Art Forms and Functions Chair is
made where a body can sit comfortably Shape of spoon and fork based on its
function. (2) Architecture Design of building is determined by its operational
function Example: Place of worship requires big hall Hotel/motel need for
privacy. (3) Community Planning Assignment of land areas for proper land use
Considerations are: Residential districts Industrial and commercial areas c.
Civic center’s locates government services d. Parks and malls e. Streets and
roads.

http://www.authorstream.com/Presentation/aSGuest136810-1438662-art-
appreciation-module-3-functions-of/

Other Functions of Art

 Music as an art is also interesting to talk about in relation to function.

Music was used for dance and religion.
 Sculpture, is another functional art form that has long existed for
various purposes.
 Sculptures were also made in order to commemorate important figures in
history.
Ex. Rizal’s Monument, UP Oblation (by Guillermo Tolentino), Pope
Francis Commemorative
  Architecture might be the most prominent functional art form. Buildings
are huge, expensive, and are not easily constructed or replaced.

Philosophical Perspective on Art

1. Art as an Imitation

Plato asserted that when artists are making or performing art they are
imitating. Art imitates physical things (objects or events). Physical things
imitate Forms (read Plato’s Theory of the Forms). Therefore, art is a copy of a
copy, the third remove from reality. In book X of the Republic Plato describes
the metaphor of the three beds. One bed is an idea created by God. The second
bed is created by a carpenter who by constructing the bed imitates God’s idea.
The painter than paints the bed and by doing so he imitates the carpenter’s
created bed. In this context, the artist’s bed is twice removed from the truth.
“…So the carpenter is nearer to heaven than the painter since he has at least
obtained at a simple level some mathematical ideas, some exercise of reason
which enables him in a disciplined way to distinguish true and false, apparent
and real…” – Quote from Metaphysics as a Guide to Morals by Iris Murdoch.

For Plato, the fact that art imitates (mimesis), meant that it leads a
viewer further and further away from the truth towards an illusion. This belief
leads Plato to the determination that art leads to dangerous delusion.

It is interesting that the imitation concept has persisted throughout the

ages. To this day people think of an artist painter only as someone who is able
to replicate “the REAL thing” on his canvas.

https://utopiafiction.com/art-as-imitation/

2. Art as a Representation
 Representation (arts) ... It is
through representation that people organize the world
and reality through the act of naming its elements.
Signs are arranged in order to form semantic
constructions and express relations.

Representation is the use of signs that stand in for and take

the place of something else. It is through representation that
people organize the world and reality through the act of
naming its elements. Signs are arranged in order to
form semantic constructions and express relations.
Bust of Aristotle, Greek philosopher

For many philosophers, both ancient and modern, man is regarded as

the "representational animal" or animal symbolicum, the creature whose
distinct character is the creation and the manipulation of signs – things that
"stand for" or "take the place of" something else. [1]
 Representation has been associated with aesthetics (art)
and semiotics (signs). Mitchell says "representation is an extremely elastic
notion, which extends all the way from a stone representing a man to a
novel representing the day in the life of several Dubliners". [1]
The term 'representation' carries a range of meanings and
interpretations. In literary theory, 'representation' is commonly defined in three
ways.

1. To look like or resemble

2. To stand in for something or someone
3. To present a second time; to re-present[2]
Representation began with early literary theory in the ideas
of Plato and Aristotle, and has evolved into a significant component of
language, Saussurian and communication studies.

Defining representation

Reproduction of the Mona Lisa

To represent is "to bring to mind by description," also "to
symbolize, to be the embodiment of;" from representer (12c.),
from L. repraesentare, from re-, intensive prefix, + praesentare
"to present," lit. "to place before".
A representation is a type of recording in which the sensory
information about a physical object is described in a medium.
The degree to which an artistic representation resembles the
object it represents is a function of resolution and does not
bear on the denotation of the word. For example, both
the Mona Lisa and a child's crayon drawing of Lisa del
Giocondo would be considered representational, and any preference for one
over the other would need to be understood as a matter of aesthetics.
Greek theatrical masks depicted in  Hadrians Villa mosaic

Since ancient times representation has played a

central role in understanding literature, aesthetics and
semiotics. Plato and Aristotle are key figures in early
literary theory who considered literature as simply one
form of representation. Aristotle for instance, considered
each mode of representation, verbal, visual or musical, as
being natural to human beings. Therefore, what
distinguishes humans from other animals is their ability to
create and manipulate signs. Aristotle deemed mimesis as
natural to man, therefore considered representations as necessary for people's
learning and being in the world. Plato, in contrast, looked upon representation
with more caution. He recognized that literature is a representation of life, yet
also believed that representations intervene between the viewer and the real.
This creates worlds of illusion leading one away from the "real things". Plato
thus believed that representation needs to be controlled and monitored due to
the possible dangers of fostering antisocial emotions or the imitation of evil. [5]
 Aristotle went on to say it was a definitively human activity. From
childhood man has an instinct for representation, and in this respect, man
differs from the other animals that he is far more imitative and learns his first
lessons though imitating things. Aristotle discusses representation in three
ways—

1. The object: The symbol being represented.

2. Manner: The way the symbol is represented.
3. Means: The material that is used to represent it.
The means of literary representation is language. An important part of
representation is the relationship between what the material and what it
represents. The questions arising from this are, "A stone may represent a man
but how? And by what and by what agreement, does this understanding of the
representation occur?"
One apprehends reality only through representations of reality, through texts,
discourses, images: there is no such thing as direct or unmediated access to
reality. But because one can see reality only through representation it does not
follow that one does not see reality at all... Reality is always more extensive and
complicated than any system of representation can comprehend, and we
always sense that this is so-representation never "gets" reality, which is why
human history has produced so many and changing ways of trying to get it.
Consequently, throughout the history of human culture, people have
become dissatisfied with language's ability to express reality and as a result
have developed new modes of representation. It is necessary to construct new
ways of seeing reality, as people only know reality through representation.
From this arises the contrasting and alternate theories and representational
modes of abstraction, realism and modernism, to name a few.

Contemporary ideas about representation

It is from Plato's caution that in the modern era many are aware of political
and ideological issues and the influences of representations. It is impossible to
divorce representations from culture and the society that produces them. In
the contemporary world there exist restrictions on subject matter, limiting the
kinds of representational signs allowed to be employed, as well as boundaries
that limit the audience or viewers of particular representations. In motion
picture rating systems, M and R rated films are an example of such
restrictions, highlighting also society's attempt to restrict and modify
representations to promote a certain set of ideologies and values. Despite these
restrictions, representations still have the ability to take on a life of their own
once in the public sphere, and cannot be given a definitive or concrete
meaning; as there will always be a gap between intention and realization,
original and copy.[5]
Consequently, for each of the above definitions there exists a process of
communication and message sending and receiving. In such a system of
communication and representations it is inevitable that potential problems
may arise; misunderstandings, errors, and falsehoods. The accuracy of the
representations can by no means be guaranteed, as they operate in a system of
signs that can never work in isolation from other signs or cultural factors. For
instance, the interpretation and reading of representations function in the
context of a body of rules for interpreting, and within a society many of these
codes or conventions are informally agreed upon and have been established
over a number of years. Such understandings however, are not set in stone
and may alter between times, places, peoples and contexts. How though, does
this ‘agreement’ or understanding of representation occur? It has generally
been agreed by semioticians that representational relationships can be
categorized into three distinct headings: icon, symbol and index. [5]
For instance objects and people do not have a constant meaning, but their
meanings are fashioned by humans in the context of their culture, as they have
the ability to make things mean or signify something. Viewing representation in
such a way focuses on understanding how language and systems of knowledge
production work to create and circulate meanings. Representation is simply the
process in which such meanings are constructed.[6] In much the same way as
the post-structuralists, this approach to representation considers it as
something larger than any one single representation. A similar perspective is
viewing representation as part of a larger field, as Mitchell, saying, "…
representation (in memory, in verbal descriptions, in images) not only
'mediates' our knowledge (of slavery and of many other things), but obstructs,
fragments, and negates that knowledge" and proposes a move away from the
perspective that representations are merely "objects representing", towards a
focus on the relationships and processes through which representations are
produced, valued, viewed and exchanged.
https://en.wikipedia.org/wiki/Representation_(arts)

4. Art as a Disinterested Judgement- Immanuel Kant: Aesthetics

Immanuel Kant is an 18th century German

philosopher whose work imitated dramatic changes in the
fields of epistemology, metaphysics, ethics, aesthetics, and
teleology. Like many Enlightenment thinkers, he holds our
mental faculty of reason in high esteem; he believes that it
is our reason that invests the world we experience with
structure. In his works on aesthetics and teleology, he
argues that it is our faculty of judgment that enables us to
have experience of beauty and grasp those experiences as
part of an ordered, natural world with purpose. After the
Introduction, each of the above sections commences with a
summary. These will give the reader an idea of what topics
are discussed in more detail in each section. They can also
be read together to form a brief bird’s-eye-view of Kant’s theory of aesthetics
and teleology.
Kant believes he can show that aesthetic judgment is not fundamentally
different from ordinary theoretical cognition of nature, and he believes he can
show that aesthetic judgment has a deep similarity to moral judgment. For
these two reasons, Kant claims he can demonstrate that the physical and
moral universes – and the philosophies and forms of thought that present them
– are not only compatible, but unified.
The Judgment of the Beautiful

Overview: The Critique of Judgment begins with an account of beauty.

The initial issue is: what kind of judgment is it that results in our saying, for
example, ‘That is a beautiful sunset’. Kant argues that such aesthetic
judgments (or ‘judgments of taste’) must have four key distinguishing features.
First, they are disinterested, meaning that we take pleasure in something
because we judge it beautiful, rather than judging it beautiful because we find
it pleasurable. The latter type of judgment would be more like a judgment of
the ‘agreeable’, as when I say ‘I like doughnuts’.

Second and third, such judgments are both universal and necessary.

This means roughly that it is an intrinsic part of the activity of such a
judgment to expect others to agree with us. Although we may say ‘beauty is in
the eye of the beholder’, that is not how we act. Instead, we debate and argue
about our aesthetic judgments – and especially about works of art -and we
tend to believe that such debates and arguments can actually achieve
something. Indeed, for many purposes, ‘beauty’ behaves as if it were a real
property of an object, like its weight or chemical composition. But Kant insists
that universality and necessity are in fact a product of features of the human
mind (Kant calls these features ‘common sense’), and that there is no objective
property of a thing that makes it beautiful.

Fourth, through aesthetic judgments, beautiful objects appear to be

‘purposive without purpose’ (sometimes translated as ‘final without end’). An
object’s purpose is the concept according to which it was made (the concept of
a vegetable soup in the mind of the cook, for example); an object is purposive if
it appears to have such a purpose; if, in other words, it appears to have been
made or designed. But it is part of the experience of beautiful objects, Kant
argues, that they should affect us as if they had a purpose, although no
particular purpose can be found.

https://www.iep.utm.edu/kantaest/

5. Art as Communication of Emotion

Leo Tolstoy’s What is Art? (1896) is a treatise concerning the nature and

purpose of art, describing how art can express moral values. Tolstoy does not
define art in terms of its ability to express form and beauty, but instead defines
art in terms of its ability to communicate concepts of morality. For Tolstoy,
aesthetic values are defined by moral values.

According to Tolstoy, art cannot be defined as an activity which produces

beauty. Beauty cannot be defined objectively, and therefore cannot be used as
a criterion to define what is, or is not, art. The aim of art is not merely to
produce beauty, or to provide pleasure, enjoyment, or entertainment. Art is a
means of communication, and is an important means of expression of any
experience, or of any aspect of the human condition.

Tolstoy defines art as an expression of a feeling or experience in such a way

that the audience to whom the art is directed can share that feeling or
experience. Art does not belong to any particular class of society. To limit the
subject matter of art to the experiences of a particular class of society is to
deny that art can be important for all of society. Tolstoy criticizes the belief that
art is only relevant to a particular class of society, saying that this is a
misconception which can lead to obscurity and decadence in art.

According to Tolstoy, good art is intelligible and comprehensible. Bad art is

unintelligible and incomprehensible. The more that art restricts itself to a
particular audience, the more obscure and incomprehensible it becomes to
people outside that particular audience. Good art is not confusing and
incomprehensible to most people. To the contrary, good art can communicate
its meaning to most people, because it expresses it meaning in a way which
can be understood by everyone.

Tolstoy believes that art is good if it is judged to be good by the majority of

people. Indeed, he claims that a great work of art is only great if it can be
understood by everyone.1 He also argues that if it is not admitted that art must
be intelligible and comprehensible, then any unintelligible or incomprehensible
expression of thoughts or feelings may be called "art." If any incomprehensible
form of personal expression may be called "art," then the definition of art
gradually loses its meaning, until it has no meaning at all. 2

"Good art" has a form and content which are in unity with the ideas and
feelings which it evokes or represents. In contrast, "bad art" lacks unity of form
and content with the ideas and feelings which it tries to evoke or represent.
"Bad art" is shallow, repetitious, crude, clumsy, contrived, melodramatic,
pretentious, or banal.

According to Tolstoy, the most important quality of any work of art is its
sincerity.3 Any true work of art expresses original thoughts and feelings. The
"highest" feelings which art may express are related to religious perception.

Tolstoy claims that professionalism causes a lack of sincerity in the artist,

and argues that if an artist must earn a living by producing art, then the art
which is produced is more likely to be false and insincere.

Tolstoy does not believe that art can be taught, or that instruction in the
practice of art can help people to communicate their thoughts and feelings
more sincerely. He argues that to teach art is to destroy its spontaneity.

Tolstoy’s concept of "universal" art affirms that art is relevant to everyone.

Art is relevant to every aspect of the human condition. Therefore, art must aim
to be "universal." Art is "universal" if it expresses thoughts and feelings which
can be experienced by every human being.

According to Tolstoy, everyone may experience religious thoughts or

feelings. Thus, art is "universal" if it expresses religious feelings.

Tolstoy’s view of art reflects the very idiosyncratic and independent nature
of his personal interpretation of Christianity.
 This aesthetic theory makes it necessary to consider the question of whether
aesthetic values are the same as moral and social values. Tolstoy excludes
many forms of art from what he considers to be "good" art, because he believes
that "good" art must communicate some form of religious experience. For
example, he refers to the music of Bach and Mozart, the comedies of Molière,
the poetry of Goethe and Hugo, and the novels of Dickens and Dostoyevsky as
examples of "good" art.

Tolstoy argues that good art must be religious art. He assumes that
religious art must conform to his own religious standpoint, and that his
personal form of Christianity is the only true form of Christianity.

http://www.angelfire.com/md2/timewarp/tolstoy.html

Practice Activities 3.1

On the table below, write down examples of the different artworks studied in
the lesson. On the second column, Identify the functions of art given by each
example.

Artwork Functions
Example: Adult coloring book Personal Function
1.
2.
3.
4.
5.

RECAP:

 Art has remained to be relevant in our daily lives because most of it

has played some form of function for man.
 The different functions of art maybe classified as either personal,
social and physical.

ASSESSMENT 3.1
DIRECTIONS: Write the correct answer on the space provided before each
number. Choose your answer from the box below.

Physical Function Aristotle Plato

Personal Function Adult coloring book Sculptures
Immanuel Kant Edgar Allan Poe Socrates
Spanish Houses Music Taj Mahal
__________________1. The Greek Philosopher who claimed that every particular
substance in the world has an end.
__________________2. This function depends on the person of the artist who
created the art.
__________________3. This function of art can be found in artworks that are
crafted in order to serve its purpose.
__________________4. Other functions of art were also made in order to
commemorate important figures in history.
__________________5. According to him in his masterpiece, the Republic,
particularly a picture of artists as imitation and art as
mere imitation.
__________________6. Philosopher who considered the judgement of beauty, the
corner stone of art, as something that can be universal
despite its subjectively.
__________________7. In the Philippines, climate is a huge factor in building a
house that is why ____ were designed to allow for air to
circulate inside the house.
__________________8. Under personal functions of art that can be bought and
sold
in bookstore nationwide for therapeutic purpose.
__________________9. A massive museum of white marble built in Agra was
constructed in memory of the favorite wife of the emperor,
Sha Jahan as one of the great Architecture.
__________________10. The plays of Aeschylus, the poetry of ____ are still
counted as examples of great works despite their not
having a known function.

ASSESSMENT CRITERIA 3.1

Score Descriptive Grade

10 Excellent

7-9 Proficient

6 adequate
 3-5 Limited

2-0 Insufficient

ENRICHMENT EXERCISES 3.1

Modified TRUE or False. Write T if the statement is true and if false, change
the underlined word/s to make the statement correct.

____________1. According to Aristotle “telos” is intricately linked with function.

____________2. An art is not therapeutic.
____________3. Pictures of poverty is an example of personal functions of art.
____________4. Music is another form of art that readily lends itself to multiple
functions.
____________5. Aristotle considered art as an aid to philosophy in revealing
truth.

DEFINITION OF TERMS
Aesthetics- plural in form but singular or plural in construction : a branch of
philosophy dealing with the nature of beauty, art, and taste and with the
creation and appreciation of beauty

Emotion- a conscious mental reaction (such as anger or fear) subjectively

experienced as strong feeling usually directed toward a specific object and
typically accompanied by physiological and behavioral changes in the body

Contemporary- happening, existing, living, or coming into being during the

same period of time

Function- he action for which a person or thing is specially fitted or used or

for which a thing exists : PURPOSE

Philosopher- a person who seeks wisdom or

enlightenment : SCHOLAR, THINKER

Purpose- something set up as an object or end to be attained : INTENTION

https://www.merriam-webster.com/dictionary/

BIBLIOGRAPHY
Casilib, Bernardo Nicolas Jr., Casaul, Jezreel Anne R., Garing, Dorothea C.,
2018. Art Appreciation.
https://philosophyterms.com/telos/
https://courses.lumenlearning.com/suny-masteryart1/chapter/oer-1-2/

https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.amazon.com
%2FAdult-Coloring-Book-Relaxation-Mandalas%2Fdp
%2F1514186373&psig=AOvVaw1YzqsHEYYxc_fM1dH0n7tD&ust=1595837304
822000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMCXnbC76uoCFQAAA
AAdAAAAABAD

https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.eastcityart.com
%2Fopenings-and-events%2Fcenter-for-contemporary-political-art-presents-
walls-of-demand-group-exhibition
%2F&psig=AOvVaw1eBK6SCTdpQC6cktMNvSNC&ust=1595837596072000&so
urce=images&cd=vfe&ved=0CAIQjRxqFwoTCJC7-
8O86uoCFQAAAAAdAAAAABAD

http://www.authorstream.com/Presentation/aSGuest136810-1438662-art-
appreciation-module-3-functions-of/

https://utopiafiction.com/art-as-imitation/

https://www.iep.utm.edu/kantaest/

http://www.angelfire.com/md2/timewarp/tolstoy.html