Principles of Aesthetic Value - Essay Example

?Principles of Aesthetic Value Roofing materials such as clay roof tiles are valued for their functionality due to their thermoregulatory capa keeping in heat during the cold weather and keeping it out during the hot months. These tiles can have various shapes, ranging from flat slabs to rounded or curved, and at times combines both flat and curve forms, which are mostly arranged in an interlaced pattern to prevent the elements from entering the interior (Takahara 172). In recent decades there has been lesser demand for these tiles due to the material being much more expensive and more laborious to produce than other roofing materials such as plastics and galvanized metal. Clay tiles normally would not have any aesthetic value since aside from being inconspicuously positioned above the houses and having no individuality by looking very similar to each other, most of these tiles also have dull and muted colors that would make onlookers bypass it readily in favor of looking at other objects with brighter colors, such as the lawn of the walls of the house for example. Also, each individual tile’s form would be hard to appreciate since it needs to be seen at a close range, which can only happen if the observer has to climb up the roof and inspect each tile separately. Lastly, because of the changes observed with regards to the architectural designs of houses and buildings, clay roof tiles are already rare and could easily be forgotten by most of the general public, unless these people live in old houses that still have them for roofs. A formalist perspective in finding aesthetic value for clay tiles can be used in order to explain how some principles of aesthetic reasoning can be applied to make people see these objects into works of art. Each clay tile or its grouping or arrangement can be described aesthetically using the second principle, which states that “Objects are aesthetically valuable if they express the values of the cultures they arise in, or the artists who make them.” (Moore 464). While roof tiles have the same function in various places around the world, the make and color of these tiles are different from one another, since it can be expected that topography, weather, and climate would contribute to these variations. But aside from these, there are also differences with respect to the different architectural styles of each place, due to the availability of other housing materials to complement the design of roofs. Such differences can contribute to the cultural aspects of seeing clay tiles as objects with aesthetic value since the identity of various cultures can be represented based on how different kinds of roof tiles are made and crafted by artisans or craftsmen in each location. Aside from the principle dealing with cultural identity, another principle that can also be used to describe and bring artistic and aesthetic attributes to clay tiles would be the seventh principle of aesthetic reasoning, which states that “Objects are aesthetically valuable if they possess a special aesthetic (formal) property”. (465). Using the properties of unity and organization, clay roof tiles can be seen in another light by evoking onlookers a sense of unity and organization with regards to the arrangement of the tiles on the roof, as well as being properly-arranged, with no misplaced tile in sight. This can be much more appreciated in places where old buildings are still part of everyday living, such as the old houses in villas located in old towns such as Tuscany, Italy or in large Shinto or Buddhist temples in Japan. In analyzing clay roof tiles using formal properties and cultural perspectives, it is possible to make ordinary roofing materials into pieces of art which can evoke senses of beauty and history, among other things. Thus, this paper uses the argument that clay roof tiles are able to depict the customs, traditions, and artistic sense of the culture from where it comes from by way of the tile’s shape and arrangement on the roofs of buildings. The cultural aspect of the use of clay roof tiles and how it contributes to aesthetics will be discussed first, using Japanese traditional roof tiles and makers as main examples. Japanese temples and some old houses use roof tiles due to durability and fireproofing properties, however long before such functionalist ideas where integrated with the use of such roofing materials, clay tiles were considered to be exotic and modern (Takahara 173). The use of flat clay tiles came to Japan along with Buddhist principles, architecture, and other foreign ideas from the Asian mainland, which was readily embraced by the Japanese people after some time. However, in order to suit the aesthetic needs of Japanese traditions, various changes were made with regards to the use and make of clay roof tiles. While still being considered auspicious, Japanese craftsmen created much more elaborate designs of clay roof tiles in comparison to the flat designs originally from the Asian mainland. The designs were also widely varied, and the use of each kind of roof tile not only depended on which part of the roof it was placed, but also on the kind of building that the tiles were going to be placed on (174). The reverence of the Japanese people to deities were shown through the use of stylized and decorative tiles on the roofs of Buddhist and Shinto temples, which not only feature curved and elongated roof tiles, but also tiles having Japanese ogres on them, known as Onigawara, literally meaning “ogre-tile” (173). The edges or ridges of temple roofs have these ogre-tiles due to the beliefs that such creatures would bring luck, cast protection over people, or simply allow the descent of auspicious gods in the area. The importance of luck and good fortune in Japanese culture was what eventually made clay and ogre tiles popular not only to temples and shrines, but also to homes of the wealthy and powerful families who can afford to put many of these tiles above their homes. In this case, functionality aside, the culture of clay roof tile craftsmen and artisans in old Japan were able to show how their culture assimilated foreign cultures and beliefs by refining the use of clay tiles and integrating their use with religious and spiritual customs, especially with regards to them giving importance to luck, good fortune, and prosperity. Aside from the cultural aspect of analyzing the importance of clay roof tiles in Japanese culture, the seventh principle of seeing these things as objects with special aesthetic or formal property can also be used to support the argument given. Balance and harmony are essential for some things to be considered aesthetically-pleasing, and the use of these two characteristics can be observed in old temples and houses in Japan. The tiles, both the curved and the ogre-tiles were arranged in such a way that the roofs would look symmetrical, even when viewed at close range. Craftsmen arrange the tiles as carefully as possible since aside from preventing the interior of the temples or houses from getting soaked in the rain or sun, misplaced tiles could prevent symmetry and orderliness of the roofs, causing a part of the roof to tilt differently or parts of it would stick out, disrupting the curved shaped of the roof (172). Balance and symmetry are universal ideas related to the concept of aesthetics which are widely accepted in most cultures, and Japan is not an exemption to this as they give reverence to aesthetics as well. Not only do they give importance to the cultural aspects of arranging different kinds of tiles on different kinds of buildings, but in their quest of meticulously paying to attention and detail in order to evoke peace, tranquility, and craftsmanship, they also see to it that there is balance and harmony within the arrangements and organization of the tiles, in order for the people to enjoy looking at the structures without prejudice, and at the same time feel the holiness and sanctity of the places as well. Most objects considered to have no aesthetic value can often be bypassed in most cases by people that do not look into the history and background of the use of such things. In the case of clay roof tiles, for many people these things may seem like relics of the past and should not even belong to the present, but looking at these things from another perspective can change the way people would look at such tiles. Aside from their functionality, clay roof tiles have cultural and aesthetic significance in other cultures, and typically shown in Eastern cultures such as in old Japan. The use of clay tiles was seen with a spiritual and religious significance, invoking the gods to bring good fortune and prosperity to the community and its people. In addition, the clay roof tiles were also seen with an artistic significance, as the roofs of temples and shrines were elegantly-designed and decorated using clay roof tiles with various shapes and forms, as well as arranged to show balance and subtle harmony. Due to the universality of the idea of balance or symmetry in many cultures, old temples and houses in Japan were made to be as symmetrical and balanced as much as possible, which are the fruits of the meticulous and refined nature of ancient Japanese craftsmen. If the sense of aesthetics was not used in the building of these temples and shrines, aside from losing the sense of symmetry and balance, the sanctity of holy places such as Buddhist and Shinto temples would lessen, as the people would tend to look at the physical aspects of the place instead of focusing on the spiritual aspects of staying in such places. For the Japanese craftsmen that helped in creating temples and other buildings, evoking feelings of peace is just as important as putting focus on the religious aspects of life, and they were able to accomplish this by choosing the materials of their buildings with care and harmony in mind. The designs of clay roof tiles can say a lot about the culture where these came from, and in the case of the Japanese, the uniqueness of their roof tiles show their ability of assimilating foreign cultures and redesigning them to suit their needs, both in the aesthetic and religious aspects of their lives. Works Cited Moore, Brooke Noel and Richard Parker. Critical Thinking, 10th Ed. New York, NY: McGraw-Hill Education, 2011. Print. Takahara, Takashi. "The world of ogre-tile makers: the Onihyaku line in Hekinan, Japan." Cashman, Ray, Tom Mould and Pravina Shukla. The Individual and Tradition: Folkloristic Perspectives. Bloomington, IN: Indiana University Press, 2011. 171-194. Print. Read More