The concept of beauty has been subject to many interpretations over the centuries. Various philosophers have attributed it to a property of objects and human beings. Some have associated it with use, others with a lack of use, while others associate it with pleasure or perfection.
In the classical West, the concept of beauty was characterized by the arrangement of the integral parts of a work of art in such a way that the entire work is coherent. This was embodied in neo-classical sculpture, architecture, and music. However, as objectification of beauty began to become an idealized quality of certain classes and races, its political associations became problematic. These associations remained unaddressed in early twentieth-century philosophy. However, in the late twentieth century, they have been addressed by social justice movements.
One of the earliest formulations of the classical conception of beauty is found in Plato’s Symposium. The allegory tells the story of Psyche and Cupid. It shows the transformation of the human soul from a mortal to a divine. As a divine being, Psyche freely unites with the love of the god Cupid. Afterwards, Psyche is saved by Cupid and becomes Venus, the goddess of love. When Venus is reincarnated, she creates a new relationship, one of equality between humans and divine beings.
Moreover, the conception of beauty has been linked to love. Love involves unselfing and unself-preoccupation. Thus, if the object of love is perceived as beautiful, the subject’s response is inspired by the love. And when the object is perceived as less beautiful, the subject’s response is less inspired.
The concept of beauty has been influenced by various myths, most notably the Greek allegory of love. This teaches us the lesson that we should love beauty. Throughout ancient Greek mythology, a number of myths were interpreted to portray the relationships between men and women. Many of these myths involve conflict, concealment, and struggle. For example, Cupid and Psyche are destined to marry, but Cupid’s mother is destroyed, and Psyche replaces her.
Objectification of beauty has been a major theme in the exploration of beauty in women’s art throughout the twentieth and twenty-first centuries. Artists have turned to poets and artists to re-imagine myths. They have also re-examined the meaning of the female body.
The notion of beauty has also been used to criticize the distinction between fine art and craft. Kant’s treatment of beauty in terms of disinterested pleasure has obvious elements of hedonism.
Schiller has taken a more pragmatic approach to the concept of beauty, emphasizing its ability to integrate nature and spirit. He argues for its importance as a route to freedom. At the same time, he makes the connection between finitude and infiniteness.
By the end of the eighteenth century, the concept of beauty had changed. It was no longer associated with masculine virtues such as integrity and courage, but instead with feminine virtues such as purity, generosity, and kindness. Likewise, the objectification of beauty had become gender-specific.