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Aesthetic Sense Compilation (view source)

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20—God had opened my eyes; for I saw the nobility of the vulgar, the attractiveness of the repellent, the perfection of the maimed and the beauty of the hideous.~~~~<ref>http://incarnateword.in/cwm/10/aphorism-20#p1</ref~~></u~~>

… technique is a means of expression; one does not write merely to use beautiful words or paint for the sole sake of line and colour; there is something that one is trying through these means to express or to discover. What is that something? The first answer would be—it is the creation, it is the discovery of Beauty… But there is not only physical beauty in the world—there is moral, intellectual, spiritual beauty also… But here again, what after all is Beauty? How much is it in the thing itself and how much in the consciousness that perceives it? Is not the eye of the artist constantly catching some element of aesthetic value in the plain, the ugly, the sordid, the repellent and triumphantly conveying it through his material,—through the word, through line and colour, through the sculptured shape?~~~~<ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p2</ref>

<div style="color:#000000;">There is a certain state of Yogic consciousness in which all things become beautiful to the eye of the seer simply because they spiritually are—because they are a rendering in line and form of the quality and force of existence, of the consciousness, of the Ananda that rules the worlds,—of the hidden Divine. What a thing is to the exterior sense may not be, often is not beautiful for the ordinary aesthetic vision, but the Yogin sees in it the something More which the external eye does not see, he sees the soul behind, the self and spirit, he sees too lines, hues, harmonies and expressive dispositions which are not to the first surface sight visible or seizable. It may be said that he brings into the object something that is in himself, transmutes it by adding out of his own being to it—as the artist too does something of the same kind but in another way. It is not quite that however,—what the Yogin sees, what the artist sees, is there—his is a transmuting vision because it is a revealing vision; <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p3</ref></div>

<div style="color:#000000;">There is a certain state of Yogic consciousness in which all things become beautiful to the eye of the seer simply because they spiritually are—because they are a rendering in line and form of the quality and force of existence, of the consciousness, of the Ananda that rules the worlds,—of the hidden Divine. What a thing is to the exterior sense may not be, often is not beautiful for the ordinary aesthetic vision, but the Yogin sees in it the something More which the external eye does not see, he sees the soul behind, the self and spirit, he sees too lines, hues, harmonies and expressive dispositions which are not to the first surface sight visible or seizable. It may be said that he brings into the object something that is in himself, transmutes it by adding out of his own being to it—as the artist too does something of the same kind but in another way. It is not quite that however,—what the Yogin sees, what the artist sees, is there—his is a transmuting vision because it is a revealing vision; </div>~~<ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p3</ref>~~ In the Yogin's vision of universal beauty all becomes beautiful, but all is not reduced to a single level. There are gradations, there is a hierarchy in this All-Beauty and we see that it depends on the ascending power (vibhuti) of consciousness and Ananda that expresses itself in the object. All is the Divine, but some things are more divine than others. ~~<div style="color:#0066cc;">~~<ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p4</ref></~~u></div~~span>

=== Perceiving Art - Painting & Poetry ===

Art leads to the same end; the aesthetic human being intensely preoccupied with Nature through aesthetic emotion must in the end arrive at spiritual emotion and perceive not only the infinite life, but the infinite presence within her; preoccupied with beauty in the life of man he must in the end come to see the divine, the universal, the spiritual in humanity.~~~~<ref>http://incarnateword.in/cwsa/23/the-higher-and-the-lower-knowledge#p4</ref> ''Are there people who have not been affected by this vital impurity and who appreciate beauty in a subtle aesthetic way only?''Yes, certainly. Artists who have trained their mind to a purely aesthetic look at beauty and beautiful things—for one instance. There are many others also, who have a sufficiently developed refinement of the aesthetic sense not to associate it with the crude vital wish for possession, enjoyment or sensual contact.~~<ref>http://incarnateword.in/cwsa/27/physical-beauty-and-sex-sensation#p4</ref></u~~>

''Are there people who have not been affected by this vital impurity and who appreciate beauty in a subtle aesthetic way only?''Yes, certainly. Artists who have trained their mind to a purely aesthetic look at beauty and beautiful things—for one instance. There are many others also, who have a sufficiently developed refinement of the aesthetic sense not to associate it with the crude vital wish for possession, enjoyment or sensual contact. <ref>http://incarnateword.in/cwsa/27/physical-beauty-and-sex-sensation#p4</ref>

The aesthetic and impersonal vision of things can develop into the sight of the Divine Beauty everywhere which is in its nature entirely pure.~~~~<ref>http://incarnateword.in/cwsa/27/physical-beauty-and-sex-sensation#p6</ref~~></u~~>

Appreciation of poetry is a question of feeling, of intuitive perception, of a certain aesthetic sense, it is not the result of an intellectual judgment.~~~~<ref>http://incarnateword.in/cwsa/27/sri-aurobindos-critical-comments-on-poetry-written-in-the-ashram#p1</ref~~></u~~>

<div style="color:#000000;">It is a literary way of speaking, you must understand it in a literary way; it is a literary description of the word; it is very precise, but it is literary. So I cannot produce literature on this literature. One must have the taste for forms, for a beautiful way of saying things, a little exceptional, not too banal; but it is just one way, it's a way of saying things which is charming. Literature exists completely in the way of saying things. You catch what you can of what's behind. If you are indeed open to the literary meaning, it evokes things for you; but it cannot be explained. It is a means of evocation which corresponds also with music. Naturally, one can analyse literature and see how the sentence is constructed, but this is like your changing a human being into a skeleton. It is not pretty, a skeleton. It's the same thing. If in music you study counterpoint, and if this note must necessarily bring in this other, and this group of notes has necessarily to bring in that one, you spoil the music too, you make a skeleton of the music; it is not interesting. These things have to be felt with the corresponding senses, the charm of the phrase with the literary sense—catching the harmony of words and what it evokes.~~</div>~~(The Mother, 21 September 1955) ~~~~<ref>http://incarnateword.in/cwm/07/21-september-1955#p2</ref></~~u></span~~div>

= How Can One Cultivate Aesthetic Sense? =

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