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Esthetics—an enigma
Complete dentures
Esthetics-an
enigma
Oscar E. Beder, D.D.S,* School of Dentistry,
University
of Washington,
Seattle, Wash.
“The love of life is next to our love of our own face and thus the mutilated for help."-SUSHRUTA SAMHITA (circa 600 B.C.).
cry
E
sthetics is defined as being a derivative of the Greek word aisthetikos, meaning perceptive. It pertains to the sense of the beautiful or the science which deduces from nature and taste the rules and principles of art. Esthetics has always exerted a profound influence in history? because it has always been a prime concern of individuals, having the effect of exciting emotions of approval or disapproval. The glossary of prosthodontic term9 defines esthetics as ( 1) the branch of philosophy dealing with beauty, especially with the components thereof, viz., color and form; (2) the qualities involved in the appearance of a given restoration. These definitions suggest that there is a philosophy that manipulates certain qualities of beauty, but it is somewhat abstruse. This article will attempt to explore and define the suggested effective factors. Esthetics is a phenomenon of the intellect, in its broad sense. First, we must accept the fact that tastes in beauty, an entropic entity, are dependent upon the existing culture, sometimes tempered by ethnic recollection. Thus certain native tribes in some countries mutilate, distort, or alter parts of their anatomy as a program of enhancing their concept of beauty. Examples include: progressively distending the lower lip or stretching the neck, scarification, and the grinding of incisor teeth to a wedge shape. In America, we have watched a progression of changes in coiffures, beards, cosmetic application, and clothing,
PRINCIPLES OF ESTHETICS However, in the over-all appraisal of esthetics, we utilize the principles of proportion, balance, rhythm, and empathy. Proportion. (1) Certain shapes are preferred over others. (2) A square is not a very attractive shape (the prosthodontic facial contour evaluative term “square” *Director, Maxillofacial Prosthesis Clinic, University of Washington. tin 1770 a bill was introduced in one country which revealed the wide variety of surface attractions used by the women of the time. It was proposed to put a witchcraft charge on any woman of whatever age, rank, or profession, whether maid or widow, who lured a man into matrimony by the use of scents, paints, cosmetic washes, artificial teeth, false hair, Spanish wool, iron stays, hoops, high-heeled shoes, and bolstered hips.
588
Volume 25 Number
6
Esthetics-an
enigma
589
is a misnomer; it should be changed to rectangular). (3) A rectangle is preferred to a square, but a rectangle cannot be too long and narrow: the golden proportion was and a little later by the described in the fifth century B.C. by the Pythagoreans, Greek geometrician, Euclid. As early as the fourth century B.C., Aristotle pointed out the value of proportion in esthetics. However, it appears that long before the Greeks, the Egyptians had found and set up the golden number 4. The Egyptian rectangle was eight parts long to five wide (8/5 = 1.6 = 4). Thus, various parts of the face and body were related, ideally, to this proportion. Balance. A geometric pattern must be balanced, otherwise the effect is unpleasant; this is associated with eurhythmy. Rhythm (eurhythmy; harmony of proportion). An unfinished or existing uneven geometric design is almost invariably “balanced out”-actually or in the mind’s eye. This is done by adding a part which is symmetrical with the unfinished or uneven geometric design. The rhythm should not be too regular. Empathy. The idea of the feeling of empathy is the tendency of a person to feel in himself the strains perceived in the external situation. The observer identifies himself with the objects in the picture or scene, and enters into the emotional feeling of another.
PERCEPTION Our application of these principles is perceived. Perception is an organizing of sensory data (sight, touch, hearing, taste, and smell stimuli) by combining them wi-th the results of previous experience or beliefs. Part of perception consists of labeling the relationships between objects by various perceptual strategies, but this is (done ultimately in reference to oneself. In interpreting a certain stimulus a person constructs a “percept.” This percept represents some of his conclusions (in general, unconscious) about the stimulus-in this context, the esthetic factors. There is an organization of memory, whereby the brain uses past experience in achieving the pe.rceptual strategies. Perception includes a process of filling in. A picture or a person may have part of the object under consideration missing, but the whole object is perceived from such parts as are present and the value of the missing part is assessed. The ability of the individual to perceive a series of separate entities as the whole object, and thus evaluate esthetics, depends upon such factors as: (1) intelligence-having the fac:ulty to understand; (2) interest-we see what we wish to see; (3) familiaritywhen elements are thrown together in chance or interrupted order, we tend to see familiar objects in the over-all pattern; (4) likeness-elements which are alike tend to be perceived as belonging together; (5) inclusiveness-the pattern that embraces all the elements is the one that has the advantage in perception; (6) part-whole relationship-the manner in which the whole is perceived will influence the meaning of the part. This is another way of saying that what we see depends upon surroundin? conditions, or how the part under consideration relates to the whole.
OPTICAL ILLUSTRATIONS Optical illusions are factors influencing esthetics. For example, shadow position can determine how the mind’s eye will evaluate a contour. Thus an object with the
590
Beder
J. Pro&. Dent. June, 1971
shadow or shading underneath will protrude, while an object with the shadow or shading above will appear indented. Shading or shadow effect may also influence three-dimensional and length interpretation. Thus strategically placed shading can make a two-dimensional object appear three dimensional, and shadow effect can change length or distance evaluation. These illusions probably arouse memories that enter the neural organization that leads to a perceptual interpretation. We remember that light striking an object will cast a shadow behind or under it. ESTHETIC JUDGMENT One must distinguish between esthetic judgment on the one hand and taste or purely personal preference on the other. Judgment depends upon information and/or experience, which results in knowledgeability, enabling the individual to relate, compare, crossrefer, collate, and weigh. Esthetic judgment must be objective in its man-made evaluative standards, since it must be shared by other people, even though they have developed these standards independently. Taste, on the other hand, is a biased, sometimes irresponsible conception. ESTHETICS IN MAN Those concerned with the application of esthetics in man have identified certain concepts or systems of beliefs relative to determining factors. One of these pertains to certain anatomic areas or organs of the face and how they relate to established planes. An important one is Meridian O”, defined as the vertical line that is at right angles to the Frankfort plane, A study of evolution reveals that as man has developed from his “ugly” prehistoric ancestor the plane of the face has gradually moved from the horizontal plane to the vertical plane. Thus, in faces that are now considered beautiful, the chin is tangential to the Meridian 0’. The less desirable prognathic (developmental, or reduced vertical dimension) and retrognathic chins are protracted or retracted respectively from this line. Certain malocclusions that are especially unattractive follow this same pattern. The contour of the upper lip is another example. When its plane is displaced more than slightly from Meridian O”, it may appear conspicuously deviant. This in turn relates to the nasolabial angle; if the latter is acute, or if it becomes obtuse, as in an edentulous person, it may be considered unesthetic. BODY IMAGE An important consideration in the purview of esthetics, ranging from a patient with dental pathology to a maxillofacial prosthetics patient, is the concept of the body image. This may be defined as the mental picture that each individual has of his own appearance in space. In a change or loss of esthetics, there may be associated a traumatic emotional impression initiated by an awareness of physical discontinuity. Though the mental image of one’s physical attributes may rarely be considered consciously under normal circumstances, it may be evident if there is variance. There is a definite relationship between body image and self esteem. Changes in any part of the body may require that the affected individual revise his concept of his self-image, in order to create a more favorable sociocultural environment of interpersonal relationships. Attempts to do this will vary. Although
Esthetics-an
enigma
591
the body image concept of the face may not develop in children until the ages of four or five, the influence of its evaluation by the child or especially by his peers is extremely important. Most children with congenital disfigurement are friendly and outgoing when small. However, when they leave the protective environment of the home and go to school, traumatic experiences may occur. To be the object of pity or ridicule is to feel conspicuous and different. An impaired self-image may be much more disabling developmentally than is the pertinent physical defect. This is of special importance in the adolescent. Each individual is a collection of dynamisms. Thus, consciously or unconsciously, we become aware of esthetics at an early age, and this will affect our desire and reaction to attempts to restore or improve it. Consequently, all factors that tend to enhance esthetics must be utilized when habilitating or rehabilitating patients. This is why we spend so much time in selecting shades and molds, determining midsagittal plane relation, vertical jaw reliations, and tooth-ridge relation. This is why surgeons perform mandibular and ma.xillary osteotomy and ostectomy and other cosmetic and reconstructive surgery. TE.is is why we should not deprecate the adolescent’s concern about her “funnylooking front teeth.” This is why the search for better-looking materials continues. Perhaps the principles of attaining esthetics should not be committed to memory, but rather should be learned by (the) heart. Artistically, we should objectify our pe.rsonal experiences and knowledge and scientifically apply our impersonal observations. Reference 1. Academy of Denture 20: 447-480, 1968.
Prosthetics:
DR. BEDER: ScHooL 0F DENTISTRY UNIVERSITY OF WASHINGTON SEATTLE, WASH. 98105
Glossary
of Prosthodontic
Terms,
J. PROSTH. DENT.
Esthetics-an
enigma
Oscar E. Beder, D.D.S,* School of Dentistry,
University
of Washington,
Seattle, Wash.
“The love of life is next to our love of our own face and thus the mutilated for help."-SUSHRUTA SAMHITA (circa 600 B.C.).
cry
E
sthetics is defined as being a derivative of the Greek word aisthetikos, meaning perceptive. It pertains to the sense of the beautiful or the science which deduces from nature and taste the rules and principles of art. Esthetics has always exerted a profound influence in history? because it has always been a prime concern of individuals, having the effect of exciting emotions of approval or disapproval. The glossary of prosthodontic term9 defines esthetics as ( 1) the branch of philosophy dealing with beauty, especially with the components thereof, viz., color and form; (2) the qualities involved in the appearance of a given restoration. These definitions suggest that there is a philosophy that manipulates certain qualities of beauty, but it is somewhat abstruse. This article will attempt to explore and define the suggested effective factors. Esthetics is a phenomenon of the intellect, in its broad sense. First, we must accept the fact that tastes in beauty, an entropic entity, are dependent upon the existing culture, sometimes tempered by ethnic recollection. Thus certain native tribes in some countries mutilate, distort, or alter parts of their anatomy as a program of enhancing their concept of beauty. Examples include: progressively distending the lower lip or stretching the neck, scarification, and the grinding of incisor teeth to a wedge shape. In America, we have watched a progression of changes in coiffures, beards, cosmetic application, and clothing,
PRINCIPLES OF ESTHETICS However, in the over-all appraisal of esthetics, we utilize the principles of proportion, balance, rhythm, and empathy. Proportion. (1) Certain shapes are preferred over others. (2) A square is not a very attractive shape (the prosthodontic facial contour evaluative term “square” *Director, Maxillofacial Prosthesis Clinic, University of Washington. tin 1770 a bill was introduced in one country which revealed the wide variety of surface attractions used by the women of the time. It was proposed to put a witchcraft charge on any woman of whatever age, rank, or profession, whether maid or widow, who lured a man into matrimony by the use of scents, paints, cosmetic washes, artificial teeth, false hair, Spanish wool, iron stays, hoops, high-heeled shoes, and bolstered hips.
588
Volume 25 Number
6
Esthetics-an
enigma
589
is a misnomer; it should be changed to rectangular). (3) A rectangle is preferred to a square, but a rectangle cannot be too long and narrow: the golden proportion was and a little later by the described in the fifth century B.C. by the Pythagoreans, Greek geometrician, Euclid. As early as the fourth century B.C., Aristotle pointed out the value of proportion in esthetics. However, it appears that long before the Greeks, the Egyptians had found and set up the golden number 4. The Egyptian rectangle was eight parts long to five wide (8/5 = 1.6 = 4). Thus, various parts of the face and body were related, ideally, to this proportion. Balance. A geometric pattern must be balanced, otherwise the effect is unpleasant; this is associated with eurhythmy. Rhythm (eurhythmy; harmony of proportion). An unfinished or existing uneven geometric design is almost invariably “balanced out”-actually or in the mind’s eye. This is done by adding a part which is symmetrical with the unfinished or uneven geometric design. The rhythm should not be too regular. Empathy. The idea of the feeling of empathy is the tendency of a person to feel in himself the strains perceived in the external situation. The observer identifies himself with the objects in the picture or scene, and enters into the emotional feeling of another.
PERCEPTION Our application of these principles is perceived. Perception is an organizing of sensory data (sight, touch, hearing, taste, and smell stimuli) by combining them wi-th the results of previous experience or beliefs. Part of perception consists of labeling the relationships between objects by various perceptual strategies, but this is (done ultimately in reference to oneself. In interpreting a certain stimulus a person constructs a “percept.” This percept represents some of his conclusions (in general, unconscious) about the stimulus-in this context, the esthetic factors. There is an organization of memory, whereby the brain uses past experience in achieving the pe.rceptual strategies. Perception includes a process of filling in. A picture or a person may have part of the object under consideration missing, but the whole object is perceived from such parts as are present and the value of the missing part is assessed. The ability of the individual to perceive a series of separate entities as the whole object, and thus evaluate esthetics, depends upon such factors as: (1) intelligence-having the fac:ulty to understand; (2) interest-we see what we wish to see; (3) familiaritywhen elements are thrown together in chance or interrupted order, we tend to see familiar objects in the over-all pattern; (4) likeness-elements which are alike tend to be perceived as belonging together; (5) inclusiveness-the pattern that embraces all the elements is the one that has the advantage in perception; (6) part-whole relationship-the manner in which the whole is perceived will influence the meaning of the part. This is another way of saying that what we see depends upon surroundin? conditions, or how the part under consideration relates to the whole.
OPTICAL ILLUSTRATIONS Optical illusions are factors influencing esthetics. For example, shadow position can determine how the mind’s eye will evaluate a contour. Thus an object with the
590
Beder
J. Pro&. Dent. June, 1971
shadow or shading underneath will protrude, while an object with the shadow or shading above will appear indented. Shading or shadow effect may also influence three-dimensional and length interpretation. Thus strategically placed shading can make a two-dimensional object appear three dimensional, and shadow effect can change length or distance evaluation. These illusions probably arouse memories that enter the neural organization that leads to a perceptual interpretation. We remember that light striking an object will cast a shadow behind or under it. ESTHETIC JUDGMENT One must distinguish between esthetic judgment on the one hand and taste or purely personal preference on the other. Judgment depends upon information and/or experience, which results in knowledgeability, enabling the individual to relate, compare, crossrefer, collate, and weigh. Esthetic judgment must be objective in its man-made evaluative standards, since it must be shared by other people, even though they have developed these standards independently. Taste, on the other hand, is a biased, sometimes irresponsible conception. ESTHETICS IN MAN Those concerned with the application of esthetics in man have identified certain concepts or systems of beliefs relative to determining factors. One of these pertains to certain anatomic areas or organs of the face and how they relate to established planes. An important one is Meridian O”, defined as the vertical line that is at right angles to the Frankfort plane, A study of evolution reveals that as man has developed from his “ugly” prehistoric ancestor the plane of the face has gradually moved from the horizontal plane to the vertical plane. Thus, in faces that are now considered beautiful, the chin is tangential to the Meridian 0’. The less desirable prognathic (developmental, or reduced vertical dimension) and retrognathic chins are protracted or retracted respectively from this line. Certain malocclusions that are especially unattractive follow this same pattern. The contour of the upper lip is another example. When its plane is displaced more than slightly from Meridian O”, it may appear conspicuously deviant. This in turn relates to the nasolabial angle; if the latter is acute, or if it becomes obtuse, as in an edentulous person, it may be considered unesthetic. BODY IMAGE An important consideration in the purview of esthetics, ranging from a patient with dental pathology to a maxillofacial prosthetics patient, is the concept of the body image. This may be defined as the mental picture that each individual has of his own appearance in space. In a change or loss of esthetics, there may be associated a traumatic emotional impression initiated by an awareness of physical discontinuity. Though the mental image of one’s physical attributes may rarely be considered consciously under normal circumstances, it may be evident if there is variance. There is a definite relationship between body image and self esteem. Changes in any part of the body may require that the affected individual revise his concept of his self-image, in order to create a more favorable sociocultural environment of interpersonal relationships. Attempts to do this will vary. Although
Esthetics-an
enigma
591
the body image concept of the face may not develop in children until the ages of four or five, the influence of its evaluation by the child or especially by his peers is extremely important. Most children with congenital disfigurement are friendly and outgoing when small. However, when they leave the protective environment of the home and go to school, traumatic experiences may occur. To be the object of pity or ridicule is to feel conspicuous and different. An impaired self-image may be much more disabling developmentally than is the pertinent physical defect. This is of special importance in the adolescent. Each individual is a collection of dynamisms. Thus, consciously or unconsciously, we become aware of esthetics at an early age, and this will affect our desire and reaction to attempts to restore or improve it. Consequently, all factors that tend to enhance esthetics must be utilized when habilitating or rehabilitating patients. This is why we spend so much time in selecting shades and molds, determining midsagittal plane relation, vertical jaw reliations, and tooth-ridge relation. This is why surgeons perform mandibular and ma.xillary osteotomy and ostectomy and other cosmetic and reconstructive surgery. TE.is is why we should not deprecate the adolescent’s concern about her “funnylooking front teeth.” This is why the search for better-looking materials continues. Perhaps the principles of attaining esthetics should not be committed to memory, but rather should be learned by (the) heart. Artistically, we should objectify our pe.rsonal experiences and knowledge and scientifically apply our impersonal observations. Reference 1. Academy of Denture 20: 447-480, 1968.
Prosthetics:
DR. BEDER: ScHooL 0F DENTISTRY UNIVERSITY OF WASHINGTON SEATTLE, WASH. 98105
Glossary
of Prosthodontic
Terms,
J. PROSTH. DENT.