The proposition that the measure of beauty is in the mind and not in the object is true since beauty has several perspectives that differ according to different people. For instance, the famous philosophers, Plato and Aristotle identified beauty with simplicity and harmony alongside with proportion (Burke 2006). This is compared to the unity that exists in an organism. Therefore, there is no beauty without unity. This notion goes hand in hand with the Mona Lisa painting. The perspective that the art is an aesthetic feeling brings about the true aspect of beauty. Since art is expression, its unity is inescapable, in the way that nature expresses the unity of things. The mind is also a determinant in the perspective of how nature views the general ideas of life. The Mona Lisa painting has a special facial expression since the artist Leonardo da Vinci engages some unique significance in it. Though beauty has several aspects, the painter would not, if he could, replicate all the elements of the face, but only those that are sensitive to the elucidation of character he wishes to express (Shane McCausaland 2011).The Mona Lisa painting tries to deliver all the concealed unities for the mind to discover it with delight.. The measure of beauty in the painting is reached below the surface of experience, which is experiential through common discernment. This extends to a more ambiguous lucidity thereafter. This makes the artist go beyond the meager contrivance of imitating trends.
The measure of beauty is also in the mind and not in the object since people recount the demonstration in form of imagination. This results to the aspect of beauty being perceived in conjunction with the intention. The subject as well as the perspective of pleasure is included. This explains why the verdict of taste, is not a rational decision. This is because it is not reasonable, though it is aesthetic. This means that it is one of the determining grounds that cannot be an object of bias (Yiqin 1976). Thus, every location of descriptions is skilled enough to make objective and sensational judgments; in such a case, the situation signifies the reality in a pragmatic exemplification. The only exemption to this feeling of desire or disapproval manifests itself later, though it is sometimes thought to be normal. Such situations imply that there is typically nothing in the object, it is a just a feeling, which the subject has within itself. More so, the custom in which the object is affected by the representation shows that the measure of beauty does not lie in the object.
The colors of the Mona Lisa painting depict a stimmung aspect that represents beauty. Though there is no explicit action, Mona's eyes and her furtive smile indicate core emotional action. The Mona Lisa painting shows the aspect of beauty in a psychological manner, it is its background that is painted in an explicit manner. It has a two-storied formation, which represent the aesthetic aspect of the binary churches of the Gothic period. This helps the human race appreciate the work of the Renaissance as well as the Gothic builders (Temple 2003). More so, the Mona Lisa painting shows how the Gothic builders attached all their emotional aspect to their work. The beauty is also conceived through the comparative human landscape with a bridge that crosses a partially dry river bed. There is more to comprehend in the human mind about the road that goes to a concealed destination through hot reddish brown rocks. This gives one a clear comprehension of the Italian Alps and of some parts of Tuscany.
The above explanation of the Mona Lisa painting shows the psychological standpoint of sensation of the datum. The datum is then portrayed through the aesthetic experience people derive from the painting. For instance, the power of the painting to articulate beauty aspects depend on the analysis of a supplementary course, which relates the painting with beliefs and feelings. According to the principle of analysis of aesthetics, the linkage is explained depending how the colors of a painting appear to be more than sheer colors. Consequently, the inclusion of other embodiments like trees, sky and foliage in the painting show the sparkle, gayety and other feelings that are suitable to a helix landscape. Thus, there are two characteristics of aesthetic feeling that are linked to feelings and ideas. Therefore, one must put into consideration the aesthetic feelings into the explication of the Mona Lisa painting. This is because the objectification in the painting gives it the universality and correlation since expression is the quintessence of the painting. This explains why Mona Lisa has a gayety in its colors, which express the aspect of joy Mona Lisa has. This is seen in the pictured face and in the sculptured pose expressing compassion
The aspect of the beauty in the mind is also experienced in the sounds and seen in the lines and colors the Mona Lisa painting has. The analysis of it is explained in the happiness that seems to belong to the face. The joy of the tones in the same painting indicates the beauty of fashion and how people appreciate it. Additionally, the certain feelings of being distinct in fashion become factual features. The notion that analysis helps us choose the psychological beauty of the painting makes it more distinct. This analysis therefore separates the painting from the rest of the elements of sensation as a whole. This paves way to the importance of the scientific rational explanation along with the linkage of ideas in the painting (Ceaser 1998). The analysis is based on the factual events that took place and have been expressed in an artistic form. Thus, the correlation does not depend on the accidental special occurrence. It is relatively a symbolized form of an expressive value of Mona Lisa. The form later turns into psychological processes that are common to human beings alongside a universal language of feeling. This aspect transfers to the facts that the Mona Lisa painting is a communicable and not a confidential appearance.
The main benefit of art over life is ought to comprise the power to generate the thoughts that are better and more motivating than life offers. More so, the principle of analysis and aesthetics argues that a piece of art should free and organize the consideration. For example, when the concept of good is slacken to comprise the innocence and happiness. It can also include the stern ethical and religious values, where beauty is agreed to belong to pictures of fair women and children to make the art more appealing (Hodson 2001).Therefore, aesthetic value is the manifestation of the ingenious counterpart of moral or realistic value.
In conclusion, the Mona Lisa painting has a lot of aspects that explain it in the aesthetic point of view. This is depicted in the way the aspect of beauty appears to go beyond the human comprehension as observed by several scholars. For instance, a painting could be appealing as an object but unless one seeks for the deeper beauty, the painting remains just a simple object. This is because only several artists are influenced by the events that happen in their immediate world. This helps them express how they feel towards diverse things through such works of art. Thus, the cognitive dimension of analysis of beauty is the best in explaining the Mona Lisa painting.