ABSTRACT
Philosophers who write aesthetic theories have tended to see the key concepts of their account of aesthetic judgement and appreciation as grounded in their distinctive philosophical view of the human situation. The data on which their aesthetic theories are founded include their broad philosophical vision as well as their experience of works of art themselves and the writings of art-critics. Critics of the arts implicitly or explicitly rely, in their interpretations and appraisals, on principles of different levels. The philosopher of art's understanding of his data has to be thought of as many-levelled, incorporating a hierarchy of values and aims. Some are derived from technical change, or are linked to developing traditions and movements: these can indeed be historically relative. The philosopher of art's understanding of his data has to be thought of as many-levelled, incorporating a hierarchy of values and aims.
