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Kant distinguishes between the beautiful and the sublime as two fundamental dimensions of aesthetic judgment: the beautiful represents a sense of aesthetic delight that works upon itself in a bound and purposeful way, evoking delight, wonder, and a new sensibility with inherent dignity; whereas the sublime inspires awe, dread, and overwhelmingness, representing boundlessness that transcends human judgment and provides awareness of both human dignity and limitations. Kant further categorizes art into crafts (done without internal dignity), mechanical arts (with finished perfection), and fine arts (which take aspects from nature and work them together to reflect their own dignity, often generated by genius in a seamless manner that creates works capable of continuing to mean and evolve).
Kant's Aesthetics: The Beautiful, Sublime, Art, and Genius Explained
Added:all right well after looking at these four moments of the aesthetic judgment another question we might want to ask with regard to this is what exactly is it that makes up these aesthetic judgments I know that we've seen that their concept plus they don't have to do with any particular thing we're thinking about but clearly where there's some kind of thinking going on what what is this kind of thinking inconstant when we make an aesthetic judgment we come to sort of realize this aesthetic sensibility in a work of art or or in some aspect of nature what is it that we're recognizing well con points out two basic parts of our aesthetic judgments there actually are more than this in the entire critique of judgment when he talks about this but there's two that are going to concern us in particular and those are the beautiful and the sublime what are these well the beautiful for Caunt is that sense of aesthetic delight that plays upon itself that works upon itself and seems to generate as he says a kind of a bound and purposeful way of being right so it's it's a way in which when we observe something that we come to recognize as beautiful there's a way in which we look at the we look at something let's say a sunset right or we hear a symphony or we smell some sort of delightful scent coming from the kitchen we have a sense of this and these particular senses fit together to also evoke something in our imagination a sense of delight a sense of wonder a sense of some new and extraordinary way of being in which the sense is combined with one another and bring out all of these possibilities inside of themselves but this this way of being this this new this new sensibility that we are calling beautiful whether it's a beautiful scent or a beautiful sight or a beautiful sound or a beautiful thought or whatever it is is bound it has its own specific way of being its own its own kind of if you like inherent dignity to it I guess this is and this is important because this is a way in which this purposive purposelessness I was talking about in that third moment right of relation this is how it comes about it's its own special way of being in the world this is what is meant by the beautiful for cotton now beauty is only one dimension of this aesthetic what's what's expressed or what's contained within aesthetic judgment and artistic work because in addition to that there is another feature I guess of aesthetic judgment that comes out that is just as moving in some ways even more moving and has powers that the beautiful doesn't necessarily have but is distinct in the way in which it stands in the mind and that of course is what he calls the sublime now the sublime you this is a word that doesn't get used nearly so much and when it does get used quite honestly it gets used in an awful lot of different ways so it's not always it's not always easy to track exactly what it means but with Conte thankfully the idea of the sublime is used in a relatively clear way because it's used in contrast to the beautiful when Kahn talks about the idea of the sublime what he means is something that inspires a sense of awe of dread of wonder of overwhelmingness right not beauty not the sort of inherent dignity in which we have the senses sort of play upon one another work on one another and have a new idea emerge from it rather there's a sense of boundlessness to this new sensibility that's been evoked there's a way in which we don't know what its limits are that we feel it going further beyond us than we can imagine or that we can even engage in that there's a way in which it sort of supersedes us in some sense so while beauty within the aesthetic judgment is bound the sublime is boundless it seems to go beyond the very nature of our judgement itself and and gives us from that a kind of awareness of both our own dignity and our own limitations if you ask what is it that the sublime does in aesthetic judgment you know what it does it keeps us real it makes us aware of ourselves it gives us it gives us a sense of ourselves in the face of this wonder of this aw of this terror of whatever whatever aesthetic experience whatever aesthetic judgment is present to us and it's of course because of this a very very important tool for artists and also for just for aesthetic judgments in general because if all there was was a sense of beauty there'd be a way in which everything was in some sense I don't know contained merely by our own possibilities we might surprise ourselves I'd supposed to light ourselves by these perpetual experiences of the beautiful but we also wouldn't fully be ourselves because part of the way in which aesthetic judgments become important I suppose is they remind us they instruct us they help us be more of what for lack of a better word more of what we are finite beings right with a sense of greatness sense of limitation a sense of aspiration with strengths with weaknesses with failings with all the different dimensions of what it is to be human and the sublime gives us a mirror a mirror of the infinite is a word to begin to consider this so rather lovely I think I suppose one other thing I want to bring up here too is the way in which the sublime and the beautiful are worked into works of art and how Kant understands this now when Conte talks about art Conte is the word art itself is a rather broad because you can have art the way we we often talk about it like a painting or a piece of music or something but you could also have art like the mechanical arts you can have which could be something like I don't know computer programming or perhaps you can have the liberal arts you know it's just art is simply that which produces its artifice as it were right that which that which generates the artificial and in that regard there's a lot of different kinds of art but what Kant wants to say is that there is a particular kind of art what he calls the Fine Arts that he distinguishes from other arts he distinguishes it from crafts which he says has no particular intention to it a craft is something that we simply do for for for its own completion without any sense of its own this is own internal dignity to it and a mechanical art which has a dignity to it but it's a dignity that is finished and perfect and just done and it sort of completes itself the Fine Arts on the other hand take aspects that we encounter in nature so things that we sense in nature works them together without and brings them to sort of reflect their own dignity whether it's their own beauty that delights us and inspires us and moves us or even a sense of the sublime which moves us to wonder and be awed by something and have this sense of ourselves the thing about these fine arts that comes up with Conte is that the artist doesn't entirely seem to realize what it is exactly that they want to do they have a sense of intention they have a sense of where this can go what this can be what they might want to achieve but there's also a way in which this art can generate entirely new ways of being without ever either a showing the hand of the artist work so there's a seamlessness to it and be ever exhausting itself entirely if you think about a great work of art I mean one of the things about art I think that that becomes most interesting this way is that great works of art seem to have a capacity to almost live like a person that there's a way in which they continue to mean to express to become I know certainly my favorite works seem to have I find they have this quality they change not just as I change but seemed to change almost themselves like like a person who I've come to know the capacity to do this that is the capacity to generate a work in this seamless fashion
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