
Looked at through the lens of the visual arts, nature and wildness have been important subjects in various epochs of world history. An early tradition of landscape art began in China during the Tang Dynasty (618-907). The tradition of representing nature as it is became one of the aims of Chinese painting and was a significant influence in Asian art. Artists learned to depict mountains and rivers “from the perspective of nature as a whole and on the basis of their understanding of the laws of nature … as if seen through the eyes of a bird.” In the 13th century, the Song Dynasty artist Shi Erji listed “scenes lacking any places made inaccessible by nature,” as one of the 12 things to avoid in painting.


Many scientists, who study nature in more specific and organized ways, also share the conviction that nature is beautiful; the French mathematician, Jules Henri Poincaré (1854–1912) said:
The scientist does not study nature because it is useful; he studies it because he delights in it, and he delights in it because it is beautiful.
If nature were not beautiful, it would not be worth knowing, and if nature were not worth knowing, life would not be worth living. Of course I do not here speak of that beauty which strikes the senses, the beauty of qualities and of appearance; not that I undervalue such beauty, far from it, but it has nothing to do with science; I mean that profounder beauty which comes from the harmonious order of the parts and which a pure intelligence can grasp.
A common classical idea of beautiful art involves the word mimesis, the imitation of nature. Also in the realm of ideas about beauty in nature is that the perfect is implied through symmetry, equal division, and other perfect mathematical forms and notions.


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