Pleasure seems to be a fundamental consideration in Indian aesthetics, hinging on the concept of rasa:
Ragini Madhu Madhavi. Ragamala painting (possible source for Paul Klee’s Abenteuer eines Fräuleins).
rasa,( Sanskrit:: “essence,” “taste,” or “flavour,” literally, “sap” or “juice”) in Sanskrit literature, the concept of aesthetic flavour, or an essential element of any work of art that can only be suggested, not described. It is a kind of contemplative abstraction in which the inwardness of human feelings suffuses the surrounding world of embodied forms.
............and more broadly, I love these 2 words:
"Ornament is, to coin a word, exclusively calliphoric; it carries beauty with it."
terpnopoietic: "providing pleasure"
delightful neologisms that come from...
"Oleg Grabar... a historian of Islamic art and architecture whose imposingly broad range and analytical subtlety helped transform the Western study of Islamic culture..." (NYT Obit)
"Why is it that even a cursory consideration of the nature of certain designs that are neither entirely mimetic nor nonmimetic and of theories of ornament and decoration could lead us to consider such weighty issues of esthetic and moral philosophy? It is perhaps true, as Ruskin or Le Corbusier's anonymous teacher, among others, would have suggested, that to deal with whatever ornament may be strikes at the very core of the visual experience, where that experience is not skewed by taste, snobbery, ideology, social convention, ecclesiastical or political restrictions, stylistic salesmanship, and all sorts of other refinements that limit the emotional and sensory freedom of each viewer. If so, artistic traditions, like the one issued from the unique conditions of medieval Islamic history, like the worlds from which come the Irish manuscripts of the sixth century, Inca sculpture, or ancient Chinese bronzes, are all traditions that avoid the straitjacket of copying nature or else transfigure visual and imaginary experience into other types of forms. By doing so, they lead most powerfully and most directly to the very root of our need for pleasure through our eyes. Clearly there is a process of ordering visual experience, as was indeed well seen by Gombrich, that is independent from the cultural forms it has taken. To call this process ornament or decoration is not appropriate, for ornament itself can be the message that is communicated..." - Oleg Grabar
Princeton's review of it:
"In this richly illustrated book, Oleg Grabar shares a veteran art historian's love for the sheer sensuality of ornamentation. Grabar analyzes early and medieval Islamic objects and uses this art to show how ornament in general enables a direct, immediate encounter between viewers and art objects from any culture and time period."
Some textiles from Safavid Iran:
and finally (somewhat relatedly) I love this unusual quote from Matisse, about "arranging" expression:
"Crossing a bare common, in snow puddles, at twilight, under a clouded sky, without having in my thoughts any occurrence of special good fortune, I have enjoyed a perfect exhilaration. I am glad to the brink of fear." - RW Emerson, Nature
‘A friend, proven in death’
"To be in any form, what is that?
(Round and round we go, all of us, and ever come back thither,)....
" But let me make this request right away: Read as little as possible of literary criticism. Such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are clever word-games, in which one view wins , and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them. Always trust yourself and your own feeling, as opposed to argumentation, discussions, or introductions of that sort; if it turns out that you are wrong, then the natural growth of your inner life will eventually guide you to other insights. Allow your judgments their own silent, undisturbed development, which, like all progress, must come from deep within and cannot be forced or hastened. Everything is gestation and then birthing. To let each impression and each embryo of a feeling come to completion, entirely in itself, in the dark, in the unsayable, the unconscious, beyond the reach of one's own understanding, and with deep humility and patience to wait for the hour when a new clarity is born: this alone is what it means to live as an artist: in understanding as in creating. "