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Beauty is studied as part of aesthetics, culture, social psychology, philosophy and sociology. An "ideal beauty" is an entity which is admired, or possesses features widely attributed to beauty in a particular culture, for perfection.
Ugliness is considered to be the opposite of beauty.
The experience of "beauty" often involves an interpretation of some entity as being in balance and harmony with nature, which may lead to feelings of attraction and emotional well-being. Because this can be a subjective experience, it is often said that "beauty is in the eye of the beholder.
There is evidence that perceptions of beauty are evolutionary determined, that things, aspects of people and landscapes considered beautiful are typically found in situations likely to give enhanced survival of the perceiving human's genes.
The classical Greek noun that best translates to the English-language words "beauty" or "beautiful" was κάλλος, kallos, and the adjective was καλός, kalos. However, kalos may and is also translated as ″good″ or ″of fine quality″ and thus has a broader meaning than mere physical or material beauty. Similarly, kallos was used differently from the English word beauty in that it first and foremost applied to humans and bears an erotic connotation.
Classical philosophy and sculptures of men and women produced according to the Greek philosophers' tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a "classical ideal". In terms of female human beauty, a woman whose appearance conforms to these tenets is still called a "classical beauty" or said to possess a "classical beauty", whilst the foundations laid by Greek and Roman artists have also supplied the standard for male beauty in western civilization During the Gothic era, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and considered beauty to be the product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his "Lives of Artists") criticised the Gothic period as irrational and barbarian. This point of view of Gothic art lasted until Romanticism, in the 19th century.
The 20th century saw an increasing rejection of beauty by artists and philosophers alike, culminating in postmodernism's anti-aesthetics. This is despite beauty being a central concern of one of postmodernism's main influences, Friedrich Nietzsche, who argued that the Will to Power was the Will to Beauty.
Beauty is also studied by psychologists and neuroscientists in the field of experimental aesthetics and neuroesthetics respectively. Psychological theories see beauty as a form of pleasure. Correlational findings support the view that more beautiful objects are also more pleasing. Some studies suggest that higher experienced beauty is associated with activity in the medial orbitofrontal cortex. This approach of localizing the processing of beauty in one brain region has received criticism within the field.
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