كمال

للاستخدامات الأخرى، انظر كمال (توضيح)
A perfectly black body; and a perfect circle

الكمال Perfection مصطلح لوصف ما ليس به عيب أو بنقص، وهو غالباً ما يستخدم لوصف الخالق في الديانات التوحيدية. يستخدم المصطلح بشكل كبير في الكتبات الميتافيزيقية والدينية والأخلاقية للدلالة على الحالة المثلى.

في العلوم

في العلوم : خاصة الفيزياء و الكيمياء : يستخدم وصفي كامل أو تام لوصف حالة نموذجية من الأجسام في حالة فيزيئاية معينة .

مثلا : جسم جاسيء بشكل تام .

علم الجمال

Pythagoras

In ancient Greece, the 6th-century BCE Pythagoreans held that perfection in beauty and art consisted in correct proportions and in a harmonious arrangement of parts. For Plato, in the 5th and 4th centuries BCE, beauty and perfection were one.[1] The views of these Greeks dictated that, for every art, there was but one perfect form.[2]

There was also a common belief that certain proportions and shapes were perfect in themselves. Plato felt that the most perfect proportion was the ratio of the side to the diagonal of a square.[3]

Aristotle (384–322 BCE) regarded the circle as the perfect, most beautiful form. Roman politician and orator Cicero (106 – 43 BCE) wrote: "Two forms are the most distinctive: of solids, the sphere ... and of plane figures, the circle..."[4]

Renaissance aesthetics placed less emphasis than had classical aesthetics on the unity of things perfect. Italian courtier Baldassare Castiglione (1478 – 1529), in his Courtier, wrote of Leonardo, Andrea Mantegna, Raphael, Michelangelo, and Giorgione, that "each of them is unlike the others, but each is the most perfect in his style."[5]

Perfection gradually came to be seen as but one of many admirable qualities. Italian Renaissance scholar Cesare Ripa (ca. 1555 – 1622), in his Iconologia, placed perfezione on an equal footing with grace (grazia), prettiness (venustà), and beauty (bellezza).[6]

Still, Leibniz's pupil Christian Wolff (1679 – 1754) wrote in his Psychology that beauty consisted in perfection and that this was the reason why beauty was a source of pleasure. No such general aesthetic theory, explicitly naming perfection – writes Tatarkiewicz – had ever been formulated by any of perfection's devotees from Plato to Italian Renaissance architect Andrea Palladio (1508 – 1580).[7]

Wolff's theory of beauty-as-perfection was elaborated by the school's chief aesthetician, Alexander Gottlieb Baumgarten (1714 – 1762). Gotthold Ephraim Lessing (1729 – 1781) considered both beauty and sublimity to be ideas of perfection.[8]

Immanuel Kant (1724 – 1804) wrote much about perfection in his Critique of Judgment, but in the realm of aesthetics he concluded: "The faculty of taste is entirely independent of the concept of perfection".[9]

Earlier in the 18th century, France's leading aesthetician, Encyclopédie editor Denis Diderot (1713 – 1784), had expelled the concept of perfection from aesthetics. Jean-Jacques Rousseau (1712 – 1778) had treated perfection as an unreal concept and had written to the polymath and Encyclopédie co-editor Jean le Rond d'Alembert (1717 – 1783) : "Let us not seek the chimera of perfection..."[10]

In England, in 1757, aesthetician Edmund Burke (1729 – 1797) too had denied that perfection was the cause of beauty.[11]

In the 19th century, perfection ceased to be a leading concept in aesthetics. French dramatist, poet, and novelist Alfred de Musset (1810 – 1857) held that "Perfection is no more attainable for us than infinity."[12]

In the 20th century, French poet and philosopher Paul Valéry (1871 – 1945) saw perfection as an impracticable goal.[13]

علم الوجود واللاهوت

پارمنيدس

انظر أيضاً

ملاحظات

الهامش

  1. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 145.
  2. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), pp. 145–146.
  3. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 146.
  4. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 146.
  5. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 147.
  6. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 147.
  7. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 150.
  8. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 150.
  9. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 150.
  10. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 151.
  11. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 151.
  12. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 151.
  13. ^ Władysław Tatarkiewicz, "Aesthetic Perfection", Dialectics and Humanism, vol. VII, no. 4 (autumn 1980), p. 151.
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