Abstract
The face is important not only as a display of emotions but also as their controller. As early as Darwin's work, it was assumed that the expression of a face can serve not only for emotion recognition but also for the regulation of emotions.
Not long after, William James came up with a revolutionary hypothesis that the expression is not an effect but the cause of the experiences. It took almost a hundred years before James Laird decided to ingeniously prove this hypothesis for facial expression.
The results were astounding. At the same time, Paul Ekman began to examine the hypothesis of the universality of emotions by which he ventured into the unexplored area of the human face.
His emotional map of emotions affected so distant activities such as film animation, airport security, couples and marriage counselling, and suspect interrogation. The process of scientists in the discovering of the face can be compared with the processes of artists.
We will pay attention to several portraits of revolutionary art (including the Mona Lisa) and literature (including Anna Karenina). At the same time, we will remind ourselves of the risks of confusing the psychologically supported emotional expressions (which are sometimes long-term fixed in the face) with the mere attractiveness of a face which can lead to psychologically wrong halo-verdicts.
This was first brought up in psychology by Edward Thorndike and long before that in literature by Oscar Wilde. Currently, the Botox injections point out this