Analysis Of Finely Symmetrical Acheulean Handaxes?

Option 1

I would like to discuss Finely Symmetrical Acheulean Handaxes and analysis whether or not this form of artifacts can be considered as qualified artworks base on Scruton’s criteria.

First, Scruton argues that beauty and skill are two crucial components that artworks must include. According to Mithen (2003), Symmetrical Acheulean Handaxes are known for their “strong aesthetic appeal” due to their teardrop designs and extreme symmetry. In fact, humans’ visual system is sensitive to “patterns with a vertical axis of symmetry” (Lecture 27) and identifies symmetry as a type of highly attractive aesthetic appearance. Thus, we can infer that people should commonly admit the beauty of Symmetrical Acheulean Handaxes since perceptual biases
In another word, art should go beyond utility and should not be designed or manufactured for a commercial purpose. In the film, Scruton critics that “art is becoming impatient about beauty and put utility in the first place”, and he mentions that “If you only consider utility, the things you build will soon become useless”. According to Lecture 27, making Symmetrical Acheulean Handaxes take a large amount of time and energy, but all those efforts have nothing to do with improving the effectiveness of the tool. Mithen (2003) states that “finely crafted Symmetrical Acheulean Handaxes were costly signals used in the context of courtship display” as a way to show off their good health, skills, and intelligence. At a certain level, Symmetrical Acheulean Handaxes share a similar purpose with elegant, well-written love poems as a romantic way to show their desires towards having love relationships. I think using aesthetic ways to display one’s talent to attract mates should not be considered as “utility” because there is no direct return ensured, and I believe that the makers of Symmetrical Acheulean Handaxes also enjoy the art-making process since they volunteered to do such an activity that is non-related to survival. Also, the markers’ own preferences and understanding toward beauty are reflected in their works. According to Lecture 27, Symmetrical Acheulean Handaxe meet
The creativity of Symmetrical Acheulean Handaxe is undeniable, each work is totally hand-made and absolutely unique in style. According to Lecture 27, each individual maker of Symmetrical Acheulean Handaxe carefully plans, modifies, and makes his own work, and often times the maker's designs rely heavily on improvisation inventions. Thus, a wide range of variations and a high level of creativity can be observed in each work and its uniqueness show makers’ personal talents and preferences. In the film, Scruton dealers that “creativity is not enough, the skill of the true artist is to show the real of the light of the ideal and so transfigure it.” Scruton illustrates Michelangelo's marble statue David (1501-1504) as a perfect example that both show the artist’ creativity and express a concept of “idealism” that can hardly be found in the piratical world. I would argue that Symmetrical Acheulean Handaxes also reflect the markers’ ideologies of idealism and surrealism, as they insist a high standard and aim to pursue “extreme symmetry” (Lecture