Plato, one of the foundational philosophers in Western thought, grapples with the
nature of truth and reality, especially through his theory of Forms. His concept of Forms
proposes that every object or concept has a pure, ideal version, which exists in an
abstract realm and represents absolute truth. For Plato, anything in the material world is
simply an imperfect copy of this ideal, which he labels as “thrice removed” from truth.
His argument criticizes art as a deceptive force that further distances people from
genuine knowledge and understanding.
Plato’s Theory of Forms posits that for every material object or concept, there is a
perfect, eternal “Form” or “Idea” of it, which exists in a higher realm of pure reality. For
example, there is a Form of “Beauty,” “Justice,” or even “Bed,” which serves as the
ultimate, flawless version of these things. Physical objects or concepts in our world are
merely imperfect copies of these ideal Forms.
According to Plato, physical objects are the first degree of separation from truth. For
instance, a physical bed is an imperfect copy of the Form of Bed, which exists only in
the world of Forms. Although a craftsman can make a bed, he can never capture the
perfect essence of “Bed-ness.” The craftsman’s bed is just an imitation of the ideal Form
and is therefore one step removed from true reality.
The artist’s work, such as a painting or sculpture of a bed, Is another step further
removed. The painter creates only an image of the physical bed, not the bed itself. This
image is thus an imitation of an imitation, making it twice removed from the true Form.
Plato argues that the artist lacks the direct knowledge or understanding of the Form and
only captures the appearance of things rather than their true essence.
The final "removal" is the audience’s perception of the artwork. When someone views a
painting, they are perceiving only the artist’s imitation of the object, not the object itself
and certainly not the Form. Hence, by perceiving art, people are engaging with an
illusion rather than a true understanding. They experience something that has been
filtered and distorted by layers of interpretation, making art thrice removed from reality.
Plato extends his critique by arguing that art appeals to the emotions and can mislead
people away from reason and truth. In The Republic, he is particularly concerned with
how poetry, drama, and visual arts might impact the moral and intellectual
development of citizens. He contends that because art relies on imitation and often
distorts reality, it can cultivate irrational emotions, promote false ideas, and even lead
people away from the pursuit of true knowledge.
In Plato’s ideal society, ruled by philosopher-kings who have access to the Forms, he
envisions a controlled role for art. Only certain kinds of art, which promote virtue and
truth, should be allowed. Art that appeals merely to emotion or illusion has no place in
his vision of a just society, as it could distract from the pursuit of knowledge and the
contemplation of the Forms.
Plato’s assertion that art is “thrice removed from reality” reflects his view that the
ultimate truth lies only in the Forms. In his perspective, artists create works that are
mere shadows of shadows, lacking true knowledge and distancing people from
philosophical understanding. This critique is essential to his argument for a society
based on rationality and truth rather than emotional or perceptual illusions.
