**3. Aesthetic as visual metaphor**

Plastic products classified as 'beautiful' by art are reciprocated over the idea of beauty. It is aesthetic that deals with this field. Considering something to be aesthetic depends on the formal properties it possesses. Aesthetics includes subjective description forms nourishing the beautiful notion and the human memory. There is therefore a need for a more philosophical language and analysis based on further interpretation of the evaluation of aesthetics data. In aesthetic experience, the reality of the object has become a form of reality, and the only point of interest here is the form that makes the design-related existence of the object possible ([21], p. 73).

The image entering circulation as a metaphor on an advertisement plane brings aesthetic into the agenda as a modality. The designer's putting the image into circulation as an aesthetic image can be considered as his/her definitely taking the imagination of the onlooker into account as a level of sensation. Kant's aesthetics names the realization of a comprehensive function by imagination through synthesizing sensation and knowledge as *apprehensio*. Aesthetic enjoyment is achieved with its determination by a design without the mediation of concepts in the processing of imagination and understanding ability within free and independent intentionality and in compliance with an intention. In this process, imagination sets the understanding ability in motion also for its own freedom, and the understanding ability introduces imagination into an orderly game independently from concepts. As can be understood, another ability that has a distinctive role in aesthetic experience is imagination ([21], p. 32). The function of visual representation is its ability to be effective with the correct selection of design which is instrumentalized for an intention; if an image has not been designed well for an intention and is weak at the visual representation level, it will certainly not create an impact on the individual who perceives it. Here, we can argue that the image that has a functional value has been transformed into a component of visual representation ability. At the center of visual representation is a meaning-based visual linguistic ability. Hence, resorting to a reading performance with a subjective approach makes the value of the image on the aesthetic plane deficient. Therefore, representation and aesthetic, that is, intention and modality, should fulfil what is required by an analytical perspective. In this regard, the Karaca Fine Pearl advertisement inspired by Johannes Vermeer's Girl with a Pearl Earring will be analyzed. Thereby, both the representation capacity of an art piece for advertisement and the metaphorical structure of the advertisement will be revealed.
