Abstract:

This study observes transitions from semi democratic art to expression of none objective, and use of technology that brought an infinite sphere of art in Pakistan. Popular art movement assimilates truck art, cinema hoardings and wedding motifs in the cities and urban areas. Artists explored freely electronic media, digital art forms, photography and film to communicate expressions in individual ways. Kind of depiction engaged in concept oriented artworks due to all prescribed reasons is most remarkable. Artists freely combining modern ethnicity with tradition, continued to expand the potential discovered by preceding generation and kept on insert additional dimensions. Artists rejected conventional artistic media. For the reason, artistic development inclines into intellectual investigation and manifestation despite beauty and aesthetic pleasure. It is believed that distinctiveness of art works is in idea and contemporary artist are remarkably contributing to this theory. The article aims to discuss the author's concept of the phenomenon of abstract art. By absorbing all the achievements of humanity, art transforms and changes them, reflecting in its works the spirit of the time and the inner world of the artist living in this time. The development of science has actualized the issues of the relationship between ethical norms and artistic culture. The transformation of values, mentality, and perception of the world has led to cultural expression change. As a particular sphere of cultural life, art creates a need for new optics, a unique perspective of consideration, free from polar or eschatological assessments. The authors of the research article outline the fundamental aspects of the further development of contemporary art in the culture of postmodernism. The paper presents an exciting feature of modern art that influenced its development and public appreciation. In general, the article reveals the characteristics of cultural phenomena affecting contemporary art's formation and evolution. Different intuitions commonly associated with beauty and its nature are in conflict with each other, which poses certain difficulties for understanding it. On the one hand, beauty is ascribed to things as an objective, public feature. On the other hand, it seems to depend on the subjective, emotional response of the observer. It is said, for example, that "beauty is in the eye of the beholder".[37][31] It may be possible to reconcile these intuitions by affirming that it depends both on the objective features of the beautiful thing and the subjective response of the observer. One way to achieve this is to hold that an object is beautiful if it has the power to bring about certain aesthetic experiences in the perceiving subject. This is often combined with the view that the subject needs to have the ability to correctly perceive and judge beauty, sometimes referred to as "sense of taste".[31][35][36] Various conceptions of how to define and understand beauty have been suggested. Classical conceptions emphasize the objective side of beauty by defining it in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole.[31][33][36] Hedonist conceptions, on the other hand, focus more on the subjective side by drawing a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause disinterested pleasure.[38] Other conceptions include defining beautiful objects in terms of their value, of a loving attitude towards them or of their function.

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