#art and literature

[flowersforfrancis]

I fear a life of mundanity.

[sadiahakim]

— Sadia Hakim // sadia hakim's writing journal

[suspiro-desafinado]

-Yobana Lemm

[7pleiades7]

Art and Literature (c. 1862) by William-Adolphe Bouguereau (1825-1905), oil on canvas, 108 x 200 cm, Arnot Art Museum, Elmira, NY

[fairydrowning]

Love in Autumn.

– Anna Laura, Twitter account "annalaura_art"

[dreamworldgirlzine]

sneak peek at some merch we’re making for the zine! fun, girly, handmade and fitting perfectly within our DIY theme 💌⭐️ you know you want some. follow us on instagram or subscribe to our newsletter to get updates on when merch drops!

[beemintty]

death will come for us; it is inevitable.

old bones, daniel lieske | state of siege, albert camus | vergil | the creation of adam, michelangelo buonarotti | last words, louis XIV | the unabridged journals of sylvia plath, sylvia plath | ophelia, friedrich heyser | the chronology of water: a memoir, lidia yuknavitch | antony and cleopatra, william shakespeare

[versesnmoon]

‏~ إياك أن تخسر امرأه رأت كل عيوبكَ وما زالت تُحبك 🖤

~ اس عورت کو کبھی مت کھونا جس نے تمہارے سارے عیب دیکھے ہوں پھر بھی تم سے محبت کرے..!!!

[fullsaw]

[conn-artist]

I ADORE characters that just have something subtly wrong with them. Just the slightest thing that makes them uncanny, like they don’t belong in that world.

Like how the Darkling has looked 17 for centuries.

Or how Miguel has claws instead of spider grip.

Or how Nimona’s eyes reflect light like a cat’s.

Or how Connwaer never got sick.

Or Achilles hair being gold while everyone else’s was brown.

You know, just little things that’s say “this one is different. This one is not like us.”

[poeitivity]

[classicsandschmassics]

Just a little opinion piece revisiting my Master's subject of ancient Pastoralism and comparing it to Cottagecore.

[sadiahakim]

But, you can't simply spend your whole life waiting for a miracle to happen, a person to appear, and a hand to hold.

— Sadia Hakim

[edwardian-girl-next-door]

August, from The Procession of Months (c.1889). All the poems were written by fifteen-year-old Beatrice Crane and illustrated by her acclaimed artist father, Walter Crane.

info via publicdomainreview.org

art via pinterest

text id under cut-off

[text ID: "Before the heat of day

All in the misty morn,

Comes AUGUST with her gifts

To men, of yellow corn,

With shining hair bound up,

And deep blue misty eyes,

And lips the colour of

The poppies that she ties:

Her soft maize-coloured robe

Doth flutter to her feet;

Her lap is full of corn

And summer flowers sweet.

Her hands with poppies filled,

Of glowing scarlet hue,

Bound up together with

Fair cornflowers of blue

And now the corn is gathered

And 'neath the setting sun,

With lovely light above the hills,

She knows her time is done."]

[omegaphilosophia]

The Philosophy of the Sublime

The sublime is a concept in philosophy and aesthetics that refers to an experience of awe, grandeur, and wonder, often evoking a mixture of fear and admiration. This notion has been explored by various philosophers and thinkers throughout history, particularly in the context of nature, art, and human experience. Here’s an in-depth exploration of the philosophy of the sublime:

1. Historical Origins

Edmund Burke: In his work "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful" (1757), Burke distinguished between the beautiful and the sublime. He associated the sublime with vastness, infinity, and power, which can overwhelm and inspire a sense of awe and terror.

Immanuel Kant: In "Critique of Judgment" (1790), Kant elaborated on the sublime as something that transcends normal human experience and comprehension. He identified two forms of the sublime: the mathematical sublime, related to the vastness of nature and the universe, and the dynamical sublime, related to the power and force of natural phenomena.

Romanticism: The Romantic poets and artists, such as William Wordsworth, Samuel Taylor Coleridge, and Caspar David Friedrich, celebrated the sublime in nature, emphasizing the emotional and spiritual responses to its grandeur and beauty.

2. Key Characteristics of the Sublime

Vastness and Infinity: Experiences or objects that are vast in scale, such as mountains, oceans, or the night sky, evoke a sense of the sublime. Their immensity challenges human perception and comprehension.

Power and Terror: The sublime often involves elements of danger and power, such as thunderstorms, hurricanes, or erupting volcanoes. These evoke fear but also admiration for their majesty and force.

Transcendence: The sublime experience transcends ordinary understanding and evokes a sense of something greater than oneself. It can lead to feelings of humility and reverence.

Aesthetic Experience: In art and literature, the sublime is associated with works that evoke profound emotional responses, often through depictions of nature’s grandeur or human achievement.

3. Philosophical Implications

Human Limits: The concept of the sublime highlights the limitations of human perception and understanding. It suggests that there are aspects of existence that are beyond human control and comprehension.

Emotional Complexity: The sublime evokes complex emotions that combine fear, awe, wonder, and admiration. This complexity enriches human experience and understanding of the world.

Nature and the Divine: The sublime often leads to reflections on the relationship between nature and the divine. The overwhelming power and beauty of nature can evoke a sense of the divine presence or the transcendental.

4. The Sublime in Art and Culture

Visual Arts: Artists like J.M.W. Turner and Caspar David Friedrich captured the sublime in their depictions of natural landscapes and phenomena, emphasizing vastness, power, and emotional depth.

Literature: Writers such as Mary Shelley and Lord Byron explored the sublime in their works, using language to evoke the awe and terror of natural and supernatural elements.

Modern Interpretations: Contemporary artists and thinkers continue to explore the sublime in various forms, including digital art, cinema, and virtual reality, pushing the boundaries of what can evoke awe and wonder.

5. Critiques and Evolving Perspectives

Subjectivity: Some critics argue that the experience of the sublime is highly subjective and culturally specific. What one person finds sublime, another may not.

Environmental Ethics: The concept of the sublime has been revisited in discussions about environmental ethics, emphasizing the need to protect and preserve the natural landscapes that evoke these profound experiences.

The philosophy of the sublime explores the profound and often overwhelming experiences of awe, grandeur, and wonder in response to nature, art, and human achievement. It challenges human limits of perception and understanding, evoking complex emotions and reflections on the transcendental. From its historical origins in the works of Burke and Kant to its manifestations in Romantic art and contemporary culture, the sublime remains a powerful and enduring concept in philosophy and aesthetics.