Approaches to aesthetics
With Figures 1, 2, 3 and 4, different audiences or viewers may react to them differently. Their
reactions to a large extent depend on their aesthetic experience, perceptual skills, cultural
background and geographical location. This is to say that aesthetic experiences or appreciation is
subjective, and therefore not universal.
There are varying approaches to aesthetic appreciation and interpretation of the arts. Aesthetic
appreciation and interpretation of the Arts is not global. Cultural traditions and personal
experiences play major influences. No one’s approach is the correct one. There is no one
aesthetic answer. There are several.
The concept of Art for art sake and Art for life sake throws more light on the aesthetic
interpretational disparity of artworks. Art for art sake as propounded by Immanuel Kant hinges
on the belief in the existence of only pure beauty, devoid of content, created for its own sake,
based only on its intrinsic qualities. This concept according to Kant gives a distinctive intellectual
interest and holds the mind’s attention so that the only concern is the contemplation of the
artwork as an end in itself. Simply put, it is the outward beauty of a visual or a performing art
that makes it an art.
Arts for life sake attaches strong affiliation with the functionality of the object or image, its
semiotic power, conceptual orientation and contribution to secular and non-secular activities of
humans. The semiotic power of African arts (whether visual or performing) are inherent in the
artistic forms no matter how simple they may look or ordinary they may be perceived. The
simplicity has something to do with exploration of artistic mediums found in the immediate
environment of the artist, and philosophy behind it.
Ghanaian Concept of Art
There is not one way approach to art making in Ghana. Likewise, the creation of artworks is
based on some precepts such as functionality, purpose, education, externalizing beliefs and
practices, cultural nuances, philosophical thoughts and satisfaction of individual’s creative
impulse.
Ghanaian indigenous concept of beauty does not overly concern itself with the outward
manifestation of an artwork, but the ability of the work to serve its intended purpose. Once the
purpose for which it was made is met, a work is considered good. The Akan say, ‘What is good is
beauty’. Artwork offers ways of experiencing the world. So, in experiencing the world through
art, premium is not placed on the outwards of the work but the innermost joy or satisfaction in
accomplishing an intended purpose for which it was created. This is the sense of beauty amongst
the people.
Ghanaian Art Canons
Precolonial Ghanaian art, and by extension, African art is noted for their conceptualizations,
symbolisms, formalistic conventions, improvisations, communicative, communal and functional
characteristics. From about 800 AD to the mid-19th century, artworks paid allegiance to these
characteristics. Artworks were produced to serve societal concepts and ideas for the common
good of the society. Works created shared symbolic association of the societal concepts and
values which made it easy to be internalised by the people (Figures 5, 6, 7, 8, 9, 10). In addition,
artworks created followed certain forms to accentuate the intended message of the artwork. For
example, the head is considered as the seat of wisdom and therefore portrayed bigger without
recourse to accurate proportions. Sometimes, the part performing a particular activity is
exaggerated (Figure 5). These stylizations are what are referred to as formalistic conventions.
Through improvisation, artworks may be created with artificial and natural materials, related and
unrelated, local and foreign which create visual excitement. The improvisation helped in
dematerialization of art. Besides, the works created may have communicative, communal and
functional characteristics (Figure 7, 9 and 10). The works carry an intended message, done for
use by society and also serve as everyday functional objects.