Editing Art (section)

==Overview==
In the perspective of the history of art,<ref name="britannica.com">{{cite web |title=Art |url=https://www.britannica.com/EBchecked/topic/630806/art |url-status=live |archive-url=https://web.archive.org/web/20090401162058/https://www.britannica.com/EBchecked/topic/630806/art |archive-date=1 April 2009 |access-date=6 July 2012 |website=Encyclopædia Britannica}}</ref> artistic works have existed for almost as long as humankind: from early [[pre-historic art|prehistoric art]] to [[contemporary art]]; however, some theorists think that the typical concept of "artistic works" does not fit well outside modern Western societies.<ref>{{Cite journal |last=Elkins |first=James |date=December 1995|title=Art History and Images That Are Not Art (with previous bibliography)|url=https://www.jstor.org/stable/3046136 |url-status=live |archive-url=https://web.archive.org/web/20210818132943/https://www.jstor.org/stable/3046136 |archive-date=18 August 2021|journal=The Art Bulletin |volume=77 |issue=4 |pages=553–571 |quote=Non-Western images are not well described in terms of art, and neither are medieval paintings that were made in the absence of humanist ideas of artistic value |doi=10.2307/3046136 |jstor=3046136 |issn=0004-3079}}</ref> One early sense of the definition of ''art'' is closely related to the older Latin meaning, which roughly translates to "skill" or "craft", as associated with words such as "artisan". English words derived from this meaning include ''artifact'', ''artificial'', ''artifice'', ''medical arts'', and ''military arts''. However, there are many other colloquial uses of the word, all with some relation to its [[etymology]].
[[File:Teke bottle.JPG|thumb|upright|20th-century bottle, [[Twa]] peoples, Rwanda. Artistic works may serve practical functions, in addition to their decorative value.]]

Over time, philosophers like [[Plato]], [[Aristotle]], [[Socrates]] and [[Kant|Immanuel Kant]], among others, questioned the meaning of art.<ref>Gilbert, Kuhn pp. 73–96</ref> Several dialogues in Plato tackle questions about art, while Socrates says that poetry is inspired by the [[muses]] and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the ''[[Phaedrus (Plato)|Phaedrus]] ''(265a–c), and yet in the ''[[Republic (Plato)|''Republic'']]'' wants to outlaw [[Homer]]'s great poetic art, and laughter as well. In ''[[Ion (dialogue)|Ion]]'', Socrates gives no hint of the disapproval of Homer that he expresses in the ''Republic''. The dialogue ''Ion'' suggests that Homer's ''[[Iliad]]'' functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.<ref>Gilbert, Kuhn pp. 40–72</ref>

With regards to the literary art and the musical arts, Aristotle considered [[epic poetry]], tragedy, comedy, [[Dithyramb]]ic poetry and music to be [[Mimesis|mimetic]] or imitative art, each varying in imitation by medium, object, and manner.<ref>Aristotle, ''Poetics'' I 1447a</ref> For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama.<ref>Aristotle, ''Poetics'' III</ref> Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.<ref>Aristotle, ''Poetics'' IV</ref>

The more recent and specific sense of the word ''art'' as an abbreviation for ''creative art'' or ''fine art'' emerged in the early 17th century.<ref>{{Cite book |last=Languages |first=Oxford |url=https://global.oup.com/academic/product/shorter-oxford-english-dictionary-9780199206872?cc=in&lang=en |title=Shorter Oxford English Dictionary |year= 2007 |publisher=Oxford University Press |isbn=978-0-19-920687-2 |location=Oxford, New York |pages=119–121 |language=en |oclc=170973920 |archive-url=https://web.archive.org/web/20220303050203/https://global.oup.com/academic/product/shorter-oxford-english-dictionary-9780199206872?cc=in&lang=en |archive-date=3 March 2022|edition=6th }}</ref> Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or ''finer'' works of art.

Within this latter sense, the word ''art'' may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts (''art'' as discipline) are a collection of disciplines which produce ''artworks'' (''art'' as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.<ref>Gilbert, Kuhn pp. 287–326</ref>
[[File:Oval basin or dish with subject from Amadis of Gaul MET DP320592.jpg|thumb|Back of a Renaissance oval basin or dish, in the [[Metropolitan Museum of Art]]]]

Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered [[commercial art]] instead of fine art. On the other hand, crafts and design are sometimes considered [[applied art]]. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference.<ref>David Novitz, ''The Boundaries of Art'', 1992</ref> However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see [[aesthetics]]); to explore the nature of perception; for pleasure; or to generate strong [[emotion]]s. The purpose may also be seemingly nonexistent.

The nature of art has been described by philosopher [[Richard Wollheim]] as "one of the most elusive of the traditional problems of human culture".<ref>Richard Wollheim, ''[[iarchive:artitsobjectswit0000woll|Art and its objects]]'', p. 1, 2nd ed., 1980, Cambridge University Press, {{ISBN|0-521-29706-0}}</ref> Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating [[Formalism (art)|formal elements]] for their own sake, and as ''mimesis'' or [[Representation (arts)|representation]]. Art as mimesis has deep roots in the philosophy of Aristotle.<ref name=Levinson5/> [[Leo Tolstoy]] identified art as a use of indirect means to communicate from one person to another.<ref name="Levinson5">Jerrold Levinson, ''[https://books.google.com/books?id=-26tL4shIPkC&pg=PA5 The Oxford Handbook of Aesthetics]'', Oxford University Press, 2003, p. 5. {{ISBN|0-19-927945-4}}</ref> [[Benedetto Croce]] and [[R. G. Collingwood]] advanced the [[Idealism|idealist]] view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.<ref>Jerrold Levinson, ''[https://books.google.com/books?id=-26tL4shIPkC&pg=PA16 The Oxford Handbook of Aesthetics]'', Oxford University Press, 2003, p. 16. {{ISBN|0-19-927945-4}}</ref><ref>R.G. Collingwood's view, expressed in ''The Principles of Art'', is considered in Wollheim, op. cit. 1980 pp. 36–43</ref> The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by [[Roger Fry]] and [[Clive Bell]]. More recently, thinkers influenced by [[Martin Heidegger]] have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.<ref>[[Martin Heidegger]], "The Origin of the Work of Art", in ''Poetry, Language, Thought'', (Harper Perennial, 2001). See also [[Maurice Merleau-Ponty]], "Cézanne's Doubt" in ''The Merleau-Ponty Aesthetics Reader'', Galen Johnson and Michael Smith (eds), (Northwestern University Press, 1994) and [[John Russon]], ''Bearing Witness to Epiphany'', (State University of New York Press, 2009).</ref> [[George Dickie (philosopher)|George Dickie]] has offered an [[institutional theory of art]] that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the [[art world]]" has conferred "the status of candidate for appreciation".<ref>W. E. Kennick, ''[[iarchive:artphilosophyrea0000kenn n7x1|Art and Philosophy: Readings in Aesthetics]].'' New York: St. Martin's Press, 1979, p. 89. {{ISBN|0-312-05391-6}}.</ref> Larry Shiner has described fine art as "not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old."<ref>Shiner 2003. ''[[The Invention of Art: A Cultural History]].'' The University of Chicago Press Books. [https://books.google.com/books?id=_d5ces9NEgkC&pg=PA3 p. 3]. {{ISBN|978-0-226-75342-3}}</ref>

Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the [[Romanticism|Romantic period]], art came to be seen as "a special faculty of the human mind to be classified with religion and science".<ref>{{cite web |author=Gombrich, Ernst. |url=https://www.gombrich.co.uk/showdoc.php?id=68 |title=Press statement on The Story of Art |year=2005 |website=The Gombrich Archive |archive-url=https://web.archive.org/web/20081006212330/https://www.gombrich.co.uk/showdoc.php?id=68 |archive-date=6 October 2008 |url-status=dead }}</ref>