Over the next two decades, I had the privilege of sharing my philosophy of beauty with women all over the world.
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The work was the first architectural treatise of the Renaissance. It covered a wide range of subjects, from history to town planning, and engineering to the philosophy of beauty. De re aedificatoria, a large and expensive book, was not fully published until 1485, after which it became a major reference for architects.Center for Palladian Studies in America, Inc.
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Only the 'life outside' gives man moments of absolute freedom, Fet argued. The way to these outer realms lies in communicating with Nature, which has a soul of its own, through moments of joy ('one-ness'). Female beauty served as part of the whole picture for Fet who had the cycle of poems dedicated to women (A.Brzhevskaya, Sophia Tolstaya, A.Osufieva, and others) based on his 'philosophy of beauty'.
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Medieval aesthetics refers to the general philosophy of beauty during the Medieval period. Although Aesthetics did not exist as a field of study during the Middle Ages, influential thinkers active during the period did discuss the nature of beauty and thus an understanding of medieval aesthetics can be obtained from their writings. Medieval aesthetics is characterized by its synthesis of Classical and Christian conceptions of beauty. The thought of Aristotle and Plato, framed by that of the Neoplatonist Plotinus, placed an emphasis on concepts such as harmony, light, and symbolism.
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Kashiki carefully selects all of the elements of a painting based on a clear, "private philosophy of beauty". "...gesture, facial expression, pose, specific objects, background, location, situation, composition, surface texture, line thickness, nexus of layers, degree of blurring" all become relevant considerations to her vision. Fluid, organic and sensual elements like the effects of water are reoccurring themes in Kashiki's works, which she explains to be informed by her "fresh feeling of being alive". Dream, desire and yearning remain to be central motifs, which begin "bleeding into the surreal".
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Gravrand, "Pangool", pp. 193−4 This is linked to the Serer philosophy of beauty Faye, Amade, " La beaute Seereer : Du modele mythique au motif poetique", [in] Ethiopiques, n° 68, revue négro-aricaine de littérature et de philosophie (1er semestre 2002) and Serer-numbers found in Serer religious symbolism, with number 3 symbolizing the feminine world, number 4 the masculine world and number 7 (3 + 4) representing balance and perfection, something the Serers try to achieve in their daily lives and the environment they find themselves in. Before the existence of the Universe, Roog existed by itself.Gravrand, "Pangool", p 189 There was nothing but silence and darkness.
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