Ugliness is the opposite of beauty. The word "beauty" is often used as a countable noun to describe a beautiful woman, an excellent example of something, or a pleasing feature of something. 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.The Koine Greek word for beautiful was ὡραῖος, hōraios, an adjective etymologically coming from the word ὥρα, hōra, meaning "hour". In Koine Greek, beauty was thus associated with "being of one's hour". Thus, a ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, hōraios had many meanings, including "youthful" and "ripe old age".The earliest Western theory of beauty can be found in the works of early Greek philosophers from the pre-Socratic period, such as Pythagoras. The Pythagorean school saw a strong connection between mathematics and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive. Ancient Greek architecture is based on this view of symmetry and proportion. Plato considered beauty to be the Idea (Form) above all other Ideas. Aristotle saw a relationship between the beautiful (to kalon) and virtue, arguing that "Virtue aims at the beautiful."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 and female beauty in western civilization as seen, for example, in the Winged Victory of Samothrace. 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. In the Middle Ages, Catholic philosophers like Thomas Aquinas included beauty among the transcendental attributes of being. In his Summa Theologica, Aquinas described the three conditions of beauty as: integritas (wholeness), consonantia (harmony and proportion), and claritas (a radiance and clarity that makes the form of a thing apparent to the mind).In the Gothic Architecture of the High and Late Middle Ages, light was considered the most beautiful revelation of God, which was heralded in design. Examples are the stained glass of Gothic Cathedrals including Notre-Dame de Paris and Chartes Cathedral. The Age of Reason saw a rise in an interest in beauty as a philosophical subject. For example, Scottish philosopher Francis Hutcheson argued that beauty is "unity in variety and variety in unity". He wrote that beauty was neither purely subjective nor purely objective—it could be understood not as "any Quality suppos'd to be in the Object, which should of itself be beautiful, without relation to any Mind which perceives it: For Beauty, like other Names of sensible Ideas, properly denotes the Perception of some mind; ... however we generally imagine that there is something in the Object just like our Perception."Immanuel Kant believed that there could be no "universal criterion of the beautiful" and that the experience of beauty is subjective, but that an object is judged to be beautiful when it seems to display "purposiveness"; that is, when its form is perceived to have the character of a thing designed according to some principle and fitted for a purpose. He distinguished "free beauty" from "merely dependent beauty", explaining that "the first presupposes no concept of what the object ought to be; the second does presuppose such a concept and the perfection of the object in accordance therewith." By this definition, free beauty is found in seashells and wordless music; dependent beauty in buildings and the human body.The Romantic poets, too, became highly concerned with the nature of beauty, with John Keats arguing in Ode on a Grecian Urn that: Beauty is truth, truth beauty, —that is all Ye know on earth, and all ye need to know. In the Romantic period, Edmund Burke postulated a difference between beauty in its classical meaning and the sublime. The concept of the sublime, as explicated by Burke and Kant, suggested viewing Gothic art and architecture, though not in accordance with the classical standard of beauty, as sublime. 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.In the aftermath of postmodernism's rejection of beauty, thinkers have returned to beauty as an important value. American analytic philosopher Guy Sircello proposed his New Theory of Beauty as an effort to reaffirm the status of beauty as an important philosophical concept. He rejected the subjectivism of Kant and sought to identify the properties inherent in an object that make it beautiful. He called qualities such as vividness, boldness, and subtlety "properties of qualitative degree" (PQDs) and stated that a PQD makes an object beautiful if it is not—and does not create the appearance of—"a property of deficiency, lack, or defect"; and if the PQD is strongly present in the object.Elaine Scarry argues that beauty is related to justice.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. Chinese philosophy has traditionally not made a separate discipline of the philosophy of beauty. Confucius identified beauty with goodness, and considered a virtuous personality to be the greatest of beauties: In his philosophy, "a neighborhood with a ren man in it is a beautiful neighborhood." Confucius’s student Zeng Shen expressed a similar idea: "few men could see the beauty in some one whom they dislike." Mencius considered "complete truthfulness" to be beauty. Zhu Xi said: "When one has strenuously implemented goodness until it is filled to completion and has accumulated truth, then the beauty will reside within it and will not depend on externals." The word "beauty" is often used as a countable noun to describe a beautiful woman.The characterization of a person as “beautiful”, whether on an individual basis or by community consensus, is often based on some combination of inner beauty, which includes psychological factors such as personality, intelligence, grace, politeness, charisma, integrity, congruence and elegance, and outer beauty (i.e. physical attractiveness

Ugliness is the opposite of beauty. The word "beauty" is often used as a countable noun to describe a beautiful woman, an excellent example of something, or a pleasing feature of something. 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.The Koine Greek word for beautiful was ὡραῖος, hōraios, an adjective etymologically coming from the word ὥρα, hōra, meaning "hour". In Koine Greek, beauty was thus associated with "being of one's hour". Thus, a ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, hōraios had many meanings, including "youthful" and "ripe old age".The earliest Western theory of beauty can be found in the works of early Greek philosophers from the pre-Socratic period, such as Pythagoras. The Pythagorean school saw a strong connection between mathematics and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive. Ancient Greek architecture is based on this view of symmetry and proportion. Plato considered beauty to be the Idea (Form) above all other Ideas. Aristotle saw a relationship between the beautiful (to kalon) and virtue, arguing that "Virtue aims at the beautiful."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 and female beauty in western civilization as seen, for example, in the Winged Victory of Samothrace. 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. In the Middle Ages, Catholic philosophers like Thomas Aquinas included beauty among the transcendental attributes of being. In his Summa Theologica, Aquinas described the three conditions of beauty as: integritas (wholeness), consonantia (harmony and proportion), and claritas (a radiance and clarity that makes the form of a thing apparent to the mind).In the Gothic Architecture of the High and Late Middle Ages, light was considered the most beautiful revelation of God, which was heralded in design. Examples are the stained glass of Gothic Cathedrals including Notre-Dame de Paris and Chartes Cathedral. The Age of Reason saw a rise in an interest in beauty as a philosophical subject. For example, Scottish philosopher Francis Hutcheson argued that beauty is "unity in variety and variety in unity". He wrote that beauty was neither purely subjective nor purely objective—it could be understood not as "any Quality suppos'd to be in the Object, which should of itself be beautiful, without relation to any Mind which perceives it: For Beauty, like other Names of sensible Ideas, properly denotes the Perception of some mind; ... however we generally imagine that there is something in the Object just like our Perception."Immanuel Kant believed that there could be no "universal criterion of the beautiful" and that the experience of beauty is subjective, but that an object is judged to be beautiful when it seems to display "purposiveness"; that is, when its form is perceived to have the character of a thing designed according to some principle and fitted for a purpose. He distinguished "free beauty" from "merely dependent beauty", explaining that "the first presupposes no concept of what the object ought to be; the second does presuppose such a concept and the perfection of the object in accordance therewith." By this definition, free beauty is found in seashells and wordless music; dependent beauty in buildings and the human body.The Romantic poets, too, became highly concerned with the nature of beauty, with John Keats arguing in Ode on a Grecian Urn that: Beauty is truth, truth beauty, —that is all Ye know on earth, and all ye need to know. In the Romantic period, Edmund Burke postulated a difference between beauty in its classical meaning and the sublime. The concept of the sublime, as explicated by Burke and Kant, suggested viewing Gothic art and architecture, though not in accordance with the classical standard of beauty, as sublime. 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.In the aftermath of postmodernism's rejection of beauty, thinkers have returned to beauty as an important value. American analytic philosopher Guy Sircello proposed his New Theory of Beauty as an effort to reaffirm the status of beauty as an important philosophical concept. He rejected the subjectivism of Kant and sought to identify the properties inherent in an object that make it beautiful. He called qualities such as vividness, boldness, and subtlety "properties of qualitative degree" (PQDs) and stated that a PQD makes an object beautiful if it is not—and does not create the appearance of—"a property of deficiency, lack, or defect"; and if the PQD is strongly present in the object.Elaine Scarry argues that beauty is related to justice.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. Chinese philosophy has traditionally not made a separate discipline of the philosophy of beauty. Confucius identified beauty with goodness, and considered a virtuous personality to be the greatest of beauties: In his philosophy, "a neighborhood with a ren man in it is a beautiful neighborhood." Confucius’s student Zeng Shen expressed a similar idea: "few men could see the beauty in some one whom they dislike." Mencius considered "complete truthfulness" to be beauty. Zhu Xi said: "When one has strenuously implemented goodness until it is filled to completion and has accumulated truth, then the beauty will reside within it and will not depend on externals." The word "beauty" is often used as a countable noun to describe a beautiful woman.The characterization of a person as “beautiful”, whether on an individual basis or by community consensus, is often based on some combination of inner beauty, which includes psychological factors such as personality, intelligence, grace, politeness, charisma, integrity, congruence and elegance, and outer beauty (i.e. physical attractiveness