Abstract

[Plato’s “Impossible” Aesthetics and Art] Although it seems impossible to derive an aesthetic theory from Plato’s thought in the sense defined by Baumgarten, it is possible to come closer to the language and the sense of the ancients, who were well aware of the division of cognition into aisthêta and noêta, if we follow Kant’s first advice, accepting this term again and preserving it for that doctrine, which is true science. Therefore, the way to see whether Plato’s views amount to a theory of aesthetics is to investigate the relationship between the things that can be felt and the things that can be perceived in his thought. Although he says in advance that one cannot gain knowledge from sensible things, the experience of beauty and its effect have a central role in Plato. In fact, when we continue our investigation through the experience of beauty in Plato’s thought, we see that the activity of philosophia is an aesthetics per se in the context of both the “highest art” and the love of beauty; philosophos, according to Plato, is the same as philokalos. Contrary to the baseless interpretations of the mainstream commentators on mimêsis, a creative activity that is not subject to mimêsis is not possible according to Plato’s thought; not only human creative activity, but primarily the Divine act of creation itself in the context of the birth of the world, is a mimetic activity. The important thing for Plato is the model upon which the creative activity is based: when an artist, who takes the self as a model, creates works by holding on to the truth, he will create the true virtue in himself, and in doing so, his creations on the outside become monuments of virtue. This activity is, in fact, synonymous with his self-knowledge and self-transformation processes. The sense of beauty experienced from such an act of creation brings out the best qualities in the audience’s soul while pointing to a path that will lead them to true nobility, rather than paralyzing their reasoning and judging abilities by imitating what are themselves imitations of virtue produced by deceptively imitative art. Monuments of virtue that are perfect examples of the beautiful itself turn the soul of the audience towards the beautiful itself and encourage them to take action to get closer to it. In Plato’s thought, true art is a call for liberation that shows the prisoners their chains, declaring that the ‘understanding’ of the world they have is merely a conception compelled by this imprisonment, just a presumption. It proclaims that they can never truly observe the truth until they free themselves from these bonds; tempting their souls, it calls them to escape to the Beautiful.