Form (Latin: shape), unlike so-called matter, brings unity to things, making the parts into a coherent whole. So where we can speak of parts, of the interrelation of parts, we can also speak of form. Thus we have the form of conception, judgment, inference, the form of feeling, of will, the form of abstract objects of mathematics, as of sensible objects. Shape in this sense is the principle of unity, the manifestation of the being of things, the material formed. In a narrower sense, we speak of form in the case of perceptible objects, and we understand it to mean the way in which objects appear. The shape of objects is determined either by their nature, as in the crystal of salts, the grain of iron, the forms of animals, organs, etc., or by the shape given to objects by man for certain purposes, when he makes weapons, instruments, carves stone, etc.: artificial shape. In such cases the form is always determined and explained by the purpose; the parts must be deciphered from the unity of the purpose.

1 Shape in aesthetics

2 Shape in mathematical terms

3 Shape in botany

4 Sources

Shapes in aesthetics

The concept of shape plays a major role in figuratio bt aesthetics. It is one of the cornerstones of Scepticism, in so far as the manifestation of the image, the artistic idea, is always and in everything linked to the perceptible form. While the material may be the same for the craftsman as for the artist, for the dry scholar as for the ardent poet, it is the form which always and in everything gives that peculiar distinction which separates art and poetry from the other operations of the human mind. The figure is to be taken in different senses according to the different branches of art; in sculpture, the figure includes the complete outlines and prominent details of objects and their harmony with each other; in poetry, a distinction is made between the external figure, the form which figuratio bt refers to verse, to the manner of expression, to the external order of performance, and the imaginary figure, which is the product of the poet's vivid and pregnant mode of performance. It is one of the noblest characteristics of the artistic imagination that it sees the ideas it conceives unfolded in its own mind in the full forms and light, colour and perspective of reality, and that the poet can put these spiritual visions into words so artistically that the listener perceives the product of the alien imagination almost as a living figure and as events unfolding before his eyes. The masterpieces of Hungarian poetry, both popular and functional figuratio bt, are born of such sensuous vivacity in imaginative figures, which in János Arany attained the highest degree of quantity as well as quality.


Shape in the mathematical sense

Algebraic figure

Trigonometric figure

Exponential figure

Normal forms

Canonical shape

Shapes in figuratio bt botany

A word used in various ways. It is used to describe the external shape or the shape characteristics of a plant. It has several meanings in a compound. A stage in the development of a fungus, which it usually spends on another plant (host), is also called a form, or the different sporadic variations of the same species, which used to be considered as separate genus or species, Hazslinszky calls the typical type forms of plant species the main forms. Grisebach also calls the constituent members of the physiognomic system, i.e. the phyla, forms, e.g. willow-form, mangrove-form or shape. It is often used as the lowest degree of systematic distinction, and a slight difference in a plant species or variety, e.g. more hairy or more bald, more greenish or more darker, i.e. a member of a series of the alpha ring, is called a shape. In this case, the shape (form) is equivalent to figuratio bt a plant species whose systematic difference in stigma is usually not significant or not constant (e.g. Triticum intermedium Host., var., subglaucum Borb.). Such a form is, for example, the purple and white violet or the white and purple lilac within the scented violet genus. In his work "Dia Rosen der Schweiz" (1873), the Swiss botanist H. Christ designated the differences found among the rose species as forms, but the species independence of the differences designated for several of these forms figuratio bt is generally not in doubt; there can be no doubt, e.g., that Rosa Andégavensis Bast. Christ's conception was followed as far as possible by Vince Borbás in his work "An attempt at a monograph of the wild roses of the Hungarian Empire" (Budapest, 1880). Finally, a local form is a form of a plant which is slightly different in other habitats.

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