The Aesthetics of Grace: Philosophy, Art, and Nature (American University Studies) 1st edition by Milani, Raffaele (2013) Hardcover
beauty of a profound sleep that is beyond the sleep in which gods visit us. In the Republic, Plato tells the story of Er, the son of Armenius. He had died in war and, when the decomposing bodies were collected ten days later, his was still intact. He was taken home and, on the twelfth day, he was to be buried. He was already on the funeral pyre when he returned to life and began to tell what he had seen in the world beyond. This is his tale: having left his body, his soul traveled in the company
state of grace finds its way into the arts as though originating in a vision that precedes the work, from an exceptional form of perceiving and seeing that is at once aesthetic and ecstatic. Although it is also present in allegory, the symbol is more consonant with grace. 7. Canons of the Aura In art history, the canon represents the fundamental rule, the norm that is universally valid, the absolute criterion and the principle that underlies artistic activity. In classical art, the canon
earth smiles and a divine fragrance pervades the entire region. Harmony of sounds, proportion of bodies, and beauty of forms inscribe themselves in the incomparable light. In classical Greece, the concept of the entire world that aspires to order, clarity, and balance, envisions Apollo as the god who causes the darkness to disperse from all of nature. His relationship with Aphrodite underlines a different and distinctive function of the Charites. Just as there is a distinction to be made on the
He is followed by eleven bands of gods and demons; the happy troupe performs a variety of movements and produces many marvelous sights as each god carries out his work. Amid this throng, the souls that are said to be immortal, once they reach the summit of the heavenly vault, go forth and stand outside the vault and contemplate what is beyond the heavens as the gravitational orbit carries them around. (27). This “heaven above the heavens” (27), which no poet has ever sung or can ever sing
and speak in favor of a beauty that is a manifestation of the soul. Grace is a gift that the soul makes to the body: “Every one of those Beings exists for itself but becomes an object of desire by the color cast upon it from The Good, the source of those graces and of the love they evoke” (Enneads VI. 7, 22). It must be said, however, in more precise terms, that the union of grace and love derives from Platonic themes. In Plato, the notion of charis appears to be more implicit than explicit.