I see where you’re coming from, but the question you posed I think is an argument for a standard of beauty. If there’s no objective standard of beauty, then the consensus of humans on why so many things are beautiful makes no sense. If there were no standard of truth, it would make no sense as to why so many of us agree that mathematics is a reliable system, to use an example from an earlier post. If an objective standard of beauty exists, then maybe the vast majority of us find beauty in a sunset because it just is beautiful. That’s one hypothesis but I could be wrong.
Beauty may be an even tougher nut to crack than morality, in a way.
That is, in terms of objective goodness, you can really come up with a definitive, dogmatic formula – this is good, this is bad.
With beauty, it would be much harder to pin down anything but a much vaguer definition.
Emerson once pointed out – and he not alone – that “there is no object so foul that intense light will not make beautiful.” Yet darkness is experienced to be beautiful, as well.
For some, twilight is the most beautiful of all, or
moonlight, because it is precisely the darkness and shadow that throws the source of illumination into more intense relief, renders it more poignant and subtle. It’s hard to derive an
entirely non-subjective aesthetics, in the same way one can claim to derive a non-subjective definition of morality.
Some would find a brilliantly blue sky to be a thing of great beauty, while others might find it pretty, but somewhat uninteresting. Cloud formations, or even a rainstorm – light shining through the clouds, after a rainstorm – would seem more beautiful to them.
When it comes to aesthetics, it’s very easy to be in danger of calling everything and its opposite beautiful – day is beautiful, but so is night; sunlight is beautiful, but so is a thunderstorm; slender girls are beautiful, but so are plump girls; etc.
One could even say that, on the most profound level,
everything is beautiful. A good example would be the beauty of the crucified Christ, largely based on the beautiful idea that is represents, where beauty is construed in a more metaphorical or figures sense. But still, this metaphorical or figurative sense animates the physical spectacle of Christ on the cross, rendering it beautiful. Those of other religions, truth be told, often find it rather morbid! This also gets one far beyond the traditional boundaries of classical beauty, into the “awful and sublime.” In the Pieta, Mary is holding her dead son in her arms, and we find that to be beautiful, even though – if a man were to come upon his wife cradling her dead son in her arms, and he was seeing it for the first time – he would be shattered, devastated. It would be anything
but an object of aesthetic appreciation.
Also, in something like the beauty, and the aesthetics, of carving Christ on the cross, the “outward” and “inward” significations of beauty join. In other words, acts of a moral significance are often described as being beautiful – a beautiful gesture, a beautiful deed, while immoral actions are often described as ugly. Thus, the sacrifice of Christ is the ultimate of beautiful gestures, what makes Christ on the cross not only
not morbid, but beautiful.
When we speak of inner beauty, we are referring to a beautiful character, to virtue – honesty, kindness, warm-heartedness. We are speaking aesthetically about moral qualities, saying that moral qualities are beautiful, immoral qualities ugly.