Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) of aesthetic diversity, and they engage in a collective dialogue about these issues. (shrink)

In his Lectures on Fine Art (1835), Hegel emphasizes the grotesque character of Indian art. Grotesqueness results, in his view, from a contradiction between meaning and shape due to the incongruous combination of spiritual and material elements. Since Hegel's history of art is teeming with examples of inadequacy between meaning and shape, this paper aims to distinguish the grotesque from other types of artistic dissonance and to problematize Hegel's ascriptions of grotesqueness to ancient Indian art. In the first part of (...) the paper, I characterize the grotesque by the unnatural distortion of natural shapes with the purpose of achieving a direct sensuous manifestation of an indeterminate and impersonal divinity, Brahman. Such an attempt is, in Hegel's view, self-contradictory and self-defeating, leading to an exaggeration of the conflict between nature and spirit instead of the intended reconciliation between the two parts. In the second part of the paper, I compare Hegel's account of Indian art to the ‘monstrous myths’ of early modern Europe. Unlike his predecessors, Hegel legitimizes the grotesque representations of Hindu gods as endowed with profound meaning and the result of a universal human need, yet he describes them as ultimately irrational and repulsive based on a prejudiced view of the Indian people(s). In this sense, Hegel's assessment of Indian art functions as a reflection of modern European culture, its fascination and horror in the face of what Enlightenment could not entirely purge, rather than as a truthful and objective account of Indian art and culture. By questioning Hegel's characterization of Hindu iconography and mythology, this paper contributes to underexplored areas of Hegelian aesthetics, namely Hegel's account of symbolic art, especially Indian art, as well as his views on negative aesthetic experiences and values. (shrink)