In Golf Architecture, Alister MacKenzie raises the following topic: a “common erroneous idea is that beauty does not matter on a golf course.” This objection to the notion of the significance of the beautiful for one’s golf is predicated, says MacKenzie, on the idea that all that matters is good golfing conditions: a good test of one’s game, with this having little to no connection to one’s aesthetic encounter with the course.
Responding, MacKenzie states:
I haven’t the smallest hesitation in saying that beauty means a great deal on a golf course; even the man who emphatically states he does not care a hang for beauty is subconsciously influenced by his surroundings. . . . and there are few first-rate holes which are not at the same time, either in the grandeur of their undulations and hazards, or the character of their surroundings, beautiful holes.
The natural is MacKenzie’s model. His desire is to “conserve existing natural features,” and if there is need, “to create formations in the spirit of nature herself.” In effect, MacKenzie makes clear his attempt to provide for “a splendid test of golf” on his courses, though at the same time he strove “to achieve beauty.”
As Andy Johnson of “The Fried Egg” has it: MacKenzie “was able to seamlessly blend his design features into the natural beauty of his land sites while still providing a strong and interesting test for the scratch player and a fun and playable course for the average players.”
MacKenzie acknowledges that “it may at first appear unreasonable that the question of aesthetics should enter into golf-course design.” Looking at the question more deeply, however, “it becomes clear that the great courses, and in detail all the famous holes and greens, are fascinating to the golfer by reason of their shape, their situation, and the character of their modeling.”
Quite importantly, he then comes to a fine summative point: “When these elements obey the fundamental laws of balance, of harmony, and fine proportion they give rise to what we call beauty.”
Often when conversations regarding beauty arise there is a tendency to eschew any claims to objective qualities of beauty. That, in effect, to describe something as beautiful is merely to describe one’s emotional response to the thing. As this thinking goes: the thing isn’t beautiful, my feeling is one I call the experience of beauty. We might call this a radically subjectivized take on aesthetic experience.
This doesn’t seem to have truck with what MacKenzie is saying, though. Of course, a golf course architect will have rather definite aesthetic opinions and positions. But MacKenzie goes beyond the particulars of course architecture and enters the more general realm of the philosophy of beauty. When he cites the qualities of balance, harmony, and proportion, he is trading in rather classical categories. He puts before the reader rather objective traits of a hole, or green, or course. In other words, MacKenzie seems to be suggesting that there has to be something about the course itself that would make us consider it beautiful. The course itself is beautiful. This doesn’t nullify the subjective aesthetic experience of the golfer, in fact it elicits it.
I think Roger Scruton’s book Beauty can be of aid in tying matters together. In it, he says that in the experience of beauty we are not just describing something we see, “we are giving voice to an encounter, a meeting of subject and object, in which the response of the first is every bit as important as the qualities of the second.”
What MacKenzie is suggesting here is that this encounter is, in fact, quite essential for the golfer. Anyone that claims otherwise is simply deluded. And to rechannel the words of Scruton, this encounter occurs between the subject that is the golfer, and the object that is the golf course. This encounter of beauty suggests that we stand in relationship with the course, and this relationship is at times one marked by awe and wonder.
The topic of golf course aesthetics is a fascinating one in its own right, however, I think the game of golf provides for a particular angle of approach to the topic of aesthetics in general. It makes us consider the experience of beauty as it pertains to the objective nature of that which we consider beautiful, alongside our particular, very personal, experience of this thing we perceive.
There is so much more to be said on this topic. Let this short post be an entrée to further thought, substance and experience.