Functional definitions take some function(s) or intended function(s)to be definitive of artworks. Here only aesthetic definitions, whichconnect art essentially with the aesthetic—aesthetic judgments,experience, or properties—will be considered. Differentaesthetic definitions incorporate different views of aestheticproperties and judgments. See the entry on .
Skepticism about the possibility and value of a definition of art hasbeen an important part of the discussion in aesthetics since the 1950son, and though its influence has subsided, uneasiness about thedefinitional project persists. (See section 4, below, and also Kivy1997, and Walton 2007).
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Any definition of art has to square with the following uncontroversialfacts: (i) entities (artifacts or performances) intentionally endowedby their makers with a significant degree of aesthetic interest, oftensurpassing that of most everyday objects, exist in virtually everyknown human culture; (ii) such entities, and traditions devoted tothem, might be produced by non-human species, and might exist in otherpossible worlds; (iii) such entities sometimes have non-aesthetic—ceremonial or religious or propagandistic—functions,and sometimes do not; (iv) traditionally, artworks are intentionallyendowed by their makers with properties, usually perceptual, having asignificant degree of aesthetic interest, often surpassing that ofmost everyday objects; (v) art, so understood, has a complicatedhistory: new genres and art-forms develop, standards of taste evolve,understandings of aesthetic properties and aesthetic experiencechange; (vi) there are institutions in some but not all cultures whichinvolve a focus on artifacts and performances having a high degree ofaesthetic interest and lacking any practical, ceremonial, or religioususe; (vii) such institutions sometimes classify entities apparentlylacking aesthetic interest with entities having a high degree ofaesthetic interest; (viii) many things other than artworks—forexample, natural entities (sunsets, landscapes, flowers, shadows),human beings, and abstract entities (theories, proofs) are routinelydescribed as having aesthetic properties.
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Traditional definitions, at least as commonly portrayed incontemporary discussions of the definition of art, take artworks to becharacterized by a single type of property. The standard candidates arerepresentational properties, expressive properties, and formalproperties. So there are representational or mimetic definitions,expressive definitions, and formalist definitions, which hold thatartworks are characterized by their possession of, respectively,representational, expressive, and formal properties. It is notdifficult to find fault with these simple definitions. For example,possessing representational, expressive, and formal properties cannotbe sufficient conditions, since, obviously, instructional manuals arerepresentations, but not typically artworks, human faces and gestureshave expressive properties without being works of art, and both naturalobjects and artifacts produced for the homeliest utilitarian purposeshave formal properties but are not artworks.
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A third sort of argument, more historically inflected than the first,takes off from an influential study by the historian of philosophyPaul Kristeller, in which he argued that the modern system of the fivemajor arts [painting, sculpture, architecture, poetry, and music]which underlies all modern aesthetics … is of comparativelyrecent origin and did not assume definite shape before the eighteenthcentury, although it had many ingredients which go back to classical,mediaeval, and Renaissance thought. Since that list of five arts issomewhat arbitrary, and since even those five do not share a singlecommon nature, but rather are united, at best, only by severaloverlapping features, and since the number of art forms has increasedsince the eighteenth century, Kristeller’s work may be taken tosuggest that our concept of art differs from that of the eighteenthcentury. As a matter of historical fact, there simply is no stabledefiniendum for a definition of art to capture.