Wine Aesthetics: Emotion

In the following series of posts I will be exploring the question of wine aesthetics. Can wine be appreciated as an aesthetic object, and if so, what does that mean exactly? What do we mean when we talk about aesthetic value or an aesthetic experience, and above all, how does that relate to wine?


Almost everything we do is infused with emotion, even if we can’t always find the words to express it. That’s why we take a unique pleasure in listening to a beautiful song, or reading a suggestive line of poetry, or watching the unfolding of a tragic love story in a film. They make us feel something that perhaps has remained tangled and hidden deep inside us, unexpressed. By reflecting it in another form, a song, or a line of poetry, or a film, can reveal the emotional depth of our experiences, at once consoling us and at the same time triggering an aesthetic experience.

Woman watching a sad film

The power of art to evoke strong emotional responses has been recognised from the beginning of time, with some going as far to say it is its defining feature, such as George Kubler (1912-1996) who claimed that art is “an object made for emotional experience”. Both Plato and Aristotle spoke of the emotive power of art, albeit with different ideas about its implications. While Plato saw art as an excessive indulgence in the passions and irrational emotions which steered one away from a virtuous life, Aristotle believed that it can purify the soul through catharsis. Art can allow us to relive strong emotions in a safe environment with no direct consequence to ourselves. We can experience pain, sorrow, terror, ecstasy and extreme joy vicariously through the art object without the actual threat of danger or risk of ridicule, thus purging our souls of that unrelinquished tension and purifying our minds for rational thought. Allowing ourselves to feel a wide range of emotions in an aesthetic context contributes to a balanced, and psychologically healthy, lifestyle, according to Aristotle.

While cathartic experiences are certainly powerful, and even therapeutic, it’s not the only way our attention is engaged aesthetically in an emotionally driven way. Emotive states can be induced, evoked, aroused, heightened, expressed, shared, perceived and attributed, sometimes keenly felt by the observer, other times recognised as a feature of the art object. Perhaps the best example is music. Music is known to not only express emotion directly but also to arouse it in the listener and represent it- either through patterns of tension, release, rising and falling or through a melody that sounds sad, joyful, angry, and so on. The question is whether wine, or the experience of wine tasting, can have the same emotional resonance.

Elizabeth Telfer, author of “Food for Thought”, seems to think not…

“A cook can cook as an act of love as we have seen, or out of the joy of living. But whereas in music the emotion is somehow expressed in the product itself- the music can be sad or joyful, angry or despairing- in food the emotion is only the motive behind the producer.”

Nor does Roger Scruton, as he states in “I Drink, Therefore I Am”…

“The comparison between wine and music helps us also to understand why wine is not an art form. The notes in music are also gestures, marked by intention. In listening to them we encounter an act of communication, an intentional putting across of an imagined state of mind. We also hear a process of development, a logical argument from note to note, so that form and content advanced together, as in a sentence… However much the tastes of a great wine are the result of an intention to produce them, we don’t taste the intention in tasting the wine, as we hear the intention in music. Wine results from the mind, but it never expresses it.”

Conductor in front of an orchestra

Both Telfer and Scruton focus on the inherent expressiveness of music, and perhaps they’re right, wine can not express emotion through the intentionality of an artist/producer in that way. It can express a geographical location, a climate and a season, a tradition and a history of wine making, but those are all concepts and not feelings, as Dwight Furrow points out in “Wines of Anger and Joy”. However, Furrow also points out a way in which wine is similar to music in terms of emotional response,

“Like music, wine has a temporal structure the unfolding of which we can respond with emotions such as surprise, bewilderment, relief, disappointment, satisfaction, excitement or relaxation, at least in part independently of the effects of alcohol.”

The sensations we encounter moment to moment when tasting a wine and the way we respond to them, in a way, mirror the time-bound process of any emotional response. First their is the initial sensation which leads to an initial appraisal in our minds, followed by cognition which modifies our initial impression, linking it to recognised patterns and past experiences in an effort to understand it, all of which feeds into and forms our response (Jenifer Robinson, “Deeper than Reason”). Our perception of aromas and flavours follow this sequence in order to identify what we are tasting, as do any emotions aroused by this process, be it delight, disgust or any thing in between.

If sensations can arouse emotions or induce emotional responses, they can also be a source of attributing emotional qualities to a wine. Furrow argues that one only has to look at the language used to describe wine which is often filled with adjectives such as lively, exuberant, and fun or dark, broody and austere, sometimes even personalities like dignified, reserved or bold. These words don’t describe how the wine tastes, they describe how it feels. While they are not indicators of the wine’s expressiveness in itself but rather our own projections onto the wine, it is a common feature of our experience to attach emotions to non-sentient objects.

In “The Architecture of Happiness”, Alain de Botton speaks about this tendency to project emotions and characters onto objects with the example of sculptures,

“…it doesn’t take much for us to interpret an object as a human or animal figure. A piece of stone can have no legs, eyes, ears or almost any of the features associated with a living thing; it need have only the merest hint of a maternal thigh or a babyish cheek and we will start to read it as a character. Thanks to this projective proclivity, we can end up as moved by a Hepworth sculpture as we are by a more literal picture of maternal tenderness, for to our inner eyes, there need be no difference between the expressive capacity of a representational painting and that of an arrangement of stones.”

Barbara Hepworth, Two Segments and a Sphere, 1936
Barbara Hepworth, Two Segments and a Sphere, 1936

“If the sculpture touches us, [Adrian Stokes] ventured, it may be because we unconsciously understand it as a family portrait. The mobility and chubby fullness of the sphere subtly suggest to us a wriggling fat-cheeked baby, while the rocking ample forms of the segment have echoes of a calm, indulgent, broad-hipped mother. We dimly apprehend in the whole a central theme of our lives. We sense a parable in stone about motherly love.”

– Alain de Botton, “The Architecture of Happiness”

The expressive capacity of abstract sculpture lies in its ability to resemble or represent features of human experience, and the qualities we experience in a glass of wine can have that same effect. But beyond the glass, the very act of drinking wine can be, and often is, an emotionally charged experience.

Wine drinking is infused with rituals, from conserving the bottle to opening it, pouring it and tasting it. These rituals not only direct our attention in a specific way, they heighten our awareness of the experience by making it special and giving it a sense of importance, in turn imbuing it with an emotional resonance much different from drinking or eating out of mere thirst or hunger.

Furthermore, as a social lubricant, drinking wine conjures up feelings of conviviality, good cheer and good will towards others. It lowers our inhibitions, making us more open to socialise with others. However much these feelings have to do with the effects of alcohol, they have also become a symbol of wine drinking. In this sense, it is both the cause and the expression of them through our experience. When it comes to food and wine, dining is a communal activity which both produces emotional experiences and allows us to share them in a social context.

People eating and drinking wine

Wine, and wine tasting, may not have the same inherent and intentional expressiveness of an art object, but we can nonetheless engage with it aesthetically through emotions, be they induced, aroused, projected or expressed through us. Wine drinking can be cathartic as it can be a communal sharing of our human experience. Our emotional responses to wine and the context we drink it in give it an aesthetic value worthy, as any art object, of an aesthetic experience.


Crash Course, “Aesthetics: Crash Course Philosophy #31”, October, 2017 (YouTube).

De Botton, Alain. “The Architecture of Happiness”. Penguin Books, 2006.

Furrow, Dwight. “Food and Wine That Makes You Cry”,, March 19, 2013.

Furrow, Dwight. “Wines of Anger and Joy Part 1”,, August 14, 2017.

Furrow, Dwight. “Wines of Anger and Joy Part 2”,, September 11, 2017.

Nanay, Bence. “Aesthetics, A Very Short Introduction”. Oxford University Press, 2019.

Scruton, Roger. “I Drink, Therefore I Am”. Bloomsbury Continuum, 2009.


  1. I think I’m at the Scruton end of the Furrow-Scruton spectrum, though I have to admit that tasting a wine rarely if ever evokes an “emotive” state in me unless it goes through a chain of internal responses to remind me of a previous memorable occasion. I have obviously thought about this a lot in the past 6 months and even written about it, but am nowhere near aesthetically tuned in to tasting wine. Conducting a blind tasting in sterile conditions has to be the ultimate test of aesthetics and wine, because there is “only” you and the wine. I have only occasionally been involved in blind tastings, but even visiting vineyards and tasting rooms in order to taste and buy has never given me an aesthetic experience. But, to use a favourite example, to sit in the village of Puligny Montrachet with Champa, Sharon and Michael with a glass of wine WOULD be an aesthetic experience. A totally different experience created by the total environment plus past memories.

    Liked by 1 person

    1. I agree with Scruton when he says wine can not express emotion the way music does, but I think we can have emotional experiences when wine tasting whether it’s a response to the wine or the environment we drink it in. That said, not all emotional experiences are aesthetic ones and vice versa. It’s very slippery, but I think it must be about how your attention is engaged in contemplating the object (wine, art, etc) and if that engagement heightens the experience. Your Puligny Montrachet example shows your attention was certainly engaged on many different levels, enhancing the pleasure of the experience. I’m having a blind tasting next Saturday, so I’ll let you know!

      Liked by 1 person

      1. It’s not really blind, as in a professional wine taster judging a wine, because you are heavily invested personally in the occasion. It’s YOUR association, people who you want to have a good experience, concern for success etc. There will already be emotions swirling around you, quite different from judging in a sterile environment. But….. it will be interesting to get your thoughts nevertheless.

        Liked by 1 person

  2. An excellent post Danell that digs into a nuance often not discussed in relation to wine. Typical tastings feel almost superficial to me. Resting on the basics of sight, smell and taste. But as you’ve so eloquently illustrated there is a much deeper aspect to wine that makes the experience that much more enjoyable, the evocation of emotions. Not always, but often I experience an emotional response from the first taste. Transporting me to a scene that I sometimes write about in my stories. As you know I call these Winemotions. Oh how I would love to join your club for one glorious evening to discuss this very topic. An Italian summer dream. May just happen. Thanks for this very thought provoking and evocative post.

    Liked by 1 person

    1. Thank you for your thoughtful comment! Some people say that wine is not a work of art, but I believe it can be an aesthetic experience, so I’m looking at what makes an experience aesthetic and emotions are certainly an important part of it. Your winemotions stories are both emotional and sensory, an excellent reflection of what wine can evoke! I think we’d have a great time discussing wine together and I’d love to have you at one of our events! Until then, I look forward to your next story 🥂

      Liked by 1 person

      1. I agree. Wine is art and is mist definitely an aesthetic experience. I’ll look forward to an in person conversation over an aesthetic bottle of wine. Thank you Danell!


Leave a Reply to Girl in Niagara Cancel reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s