The Introduction to Hegel's Philosophy of Fine Arts

e still in the introduction, and an introduction cannot do more than lay down, for the sake of explanation,

te itself, we shall have to conduct this review in a way to show, at least in general, how the particular divisions of the subject spring from the c

this involves is the requirement that the content, which is to be offered to artistic representation, shall show itself to be in its nature worthy of such representation. Otherwise we only obtain a bad combination, whereby a conten

s such, we have only enunciated a lifeless abstraction of the irrational understanding. Such a God, as he himself is not apprehended in his concrete truth, can afford no material for art, least of all for plastic art. Hence the Jews and the Turks have not been able to represent their God, who does not even amount to such an abstraction of the understanding, in the positive way in which Christians have done so. For God in Christianity is conceived in His truth, and therefore, as in Himself thoroughly concrete, as a person, as a subject,[133] and more closely determined, as mind

accident that an actual phenomenon of the external world is chosen to furnish a shape thus conformable to truth. Art does not appropriate this form either because it simply finds it existing or because there is no other. The concrete content itself involves the element of external and actual, we may say indeed of sensible manifestation. But in compensation this sensuous concrete, in which a content essentially belonging to mind expresses itself, is in its own nature addressed to the inward being; its external element of shape, whereby the content is made perceptible and imaginable, has the aim of existing purely for the heart and mind. This is the only reason for which content

nal. Whether a given content has sensuous artistic representation for its adequate form, or in virtue of its nature essentially demands a higher and more spiritual embodiment, is a distinction that displays itself at once, if, for instance, we compare the Greek gods with God as conceived according to Christian ideas. The Greek god is not abstract but individual, and is cl

work of representation has its value and dignity in the correspondence and the unity of the two sides, i.e. of the Idea and its plastic embodiment, it follows that the level and exce

mind can attain the true notion of its absolute essence, it has to traverse a course of stages whose ground is in this idea itself; and to this evolution of the content with which it supplies

ersal development of art is obliged to provide itself with external existence and sensuous form, and the definite modes of the sensuous art-existence are themselves a totality of necessary distinctions in the realm of art-which are the several arts. It is true, indeed, that the necessary kinds of artistic representation are on the one hand qua spiritual of a ver

our science divides itself i

dea of artistic beauty-this beauty being conceived as the Ideal-together with the

icular part, in as far as the essential differences which this idea conta

of artistic beauty, that consists in the advance of art to the sensuous realization of its sh

aim the artistic beauty of the Ideal. Compared indeed with ideal beauty, even the presentation will in such a case appear defective. From this point of view we must remark to begin with, what cannot be proved till later, that the defects of a work of art are not to be regarded simply as always due, for instance, to individual unskillfulness. Defectiveness of form arises from defectiveness of content. So, for example, the Chinese, Indians, and Egyptians in their artistic shapes, their forms of deities, and their idols, never got beyond a formless phase, or one of a vicious and false definiteness of form, and were unable to attain genuine beauty; because their mythological ideas, the content and thought of their works of art, were as yet indeterminate in themselves, or of a vicious determinateness, and did not consist in the content that is absolute in itself. The more that works of art excel in true beauty of presentation, the more profound is the inner truth of their content and thought. And in dealing with this point, we have not to think merely perhaps of the greater or lesser skill with which the natural forms as given in external reality are apprehended and imitated. For in certain stages of art-consciousness and of representation, the distortion and disfigurement of natural structures is not unintentional technical inexpertness and want of skill, but intentional alteration, which emanates from the content that is in consciousness, and is required thereby. Thus, from this point of view, there is such a thing as imperfect art, which may be quite perfect, both technically and in other respects, in its determinate sphere, yet reveals

the beauty of art in itself and on its own merits, we must see how beauty as a whole breaks up into its particular determinations. This gives, as our second part, the doctrine of the types of art. These forms find their genesis in the different modes of grasping the Idea as artistic content, whereby is conditioned a difference of the form in w

ree relations of the Idea t

ractness and one-sidedness leave its shape to be outwardly bizarre and defective. The first form of art is therefore rather a mere search after plastic portrayal than a capacity of genuine representation. The Idea has not yet found the true form even within itself, and therefore continues to be merely

t, and claim to be interpreted as though the Idea itself were present in them. At the root of this is the fact that natural objects have in them an aspect in which they are capable of

but nevertheless does not find them adequate to itself. Then it proceeds to exaggerate the natural shapes and the phenomena of reality into indefiniteness and disproportion, to intoxicate itself in them, to seethe and ferment in them, to do violence to them, to distort and explode them

h such an externality, and as being its inner universal substance[146] persists in exaltation or Sublimity beyond and above all this inadequate abundance of shapes. In virtue of this sublimity the natural

f its view. By this means it becomes bizarre, grotesque, and tasteless, or turns the infinite but abstract freedom of the substantive Idea disdainfully against all phenomenal being as null and evanescent. By such means the import cannot be completely embodi

s, and, in the second place, this must always make the conformity of shape to import defective, and in its turn merely abstract. The classical form of art is the solution of this double difficulty; it is the free and adequate embodiment of the Idea in the shape that, according to its co

spirit of art-has merely found it, and brought it, as an existence possessing natural shape, into accord with free individual spirituality.[149] This shape, with which the Idea as spiritual-as individually determinate spirituality-invests itself when manifested as a temporal phenomenon, is the human form. Personification and anthropomorphism have often been decried as a degradation of the spiritual; but art, in as far as its end is to bring before perception the spiritual in sensuous form, must advance to such anthropomorphism, as it is only in its proper body that mind is adequately revealed to sense. The migration of souls is in this respect a false abstraction,[150] and physiology ought to have made it one of its axioms that life had necessarily in its evolution to attain to the human shape, as the sole sensuous phenomenon that is appropriate to mind. The human form is employed in the classical type of art not as mere sensuous ex

ngs about the dissolution of classical art, and demands a transiti

he defect is in art as a whole, i.e. in the limitation of its sphere. This limitation consists in the fact that art as such takes for its object Mind-the conception of which is infinite concrete universality-in the shape of sensuous concreteness, and in the classical phase sets up the perfect amalgamation of spiritual and sensuous existence as a Conformity

t, is capable of adequate manifestation in an immediate and sensuous mode. The Greek god is the object of naive intuition and sensuous imagination. His shape is, therefore, the bodily shape of man. The circle of his power and of his being is individual and individually limited. In relation with the subject,[155] he is, therefore, an essence and a power with which the subject's inner being is merely in latent unity, not itself possessing this unity as inward subjective knowledge. Now the higher stage is the knowledge of this latent unity, which as latent is the import of the classical form of art, and capable of perfect representation in bodily shape.

spirit, or mind-not as particularized individual spirit, but as absolute, in spirit and in truth. And for this reason Christianity retires from the sensuousness of imagination into intellectual inwardness, and makes this, not bodily shape, the medium and actual existence of its significance. So, too, the unity of the human and divine nature is a conscious unity, only to be realized by spiritual knowledge

elf to the inward mind, which coalesces with its object simply and as though this were itself,[159] to the subjective inwardness, to the heart, the feeling, which, being spiritual, aspires to freedom within itself, and seeks and finds its reconciliation only in the spirit within. It is this inner world that forms the content of the roman

he peculiarity or caprice of the individual, of character, action, etc., or of incident and plot. The aspect of external existence is committed to contingency, and left at the mercy of freaks of imagination, whose caprice is no more likely to mirror what is given as it is given, than to throw the shapes of the outer world into chance medley, or distort them into grotesqueness. For this external element no longer has its notion and sig

omantic, the Idea, whose defectiveness in the case of the symbol produced the defect of external shape, has to reveal itself in the medium of spirit and feelings as perfected in itself. And it is be

t, which represent the three relations of the Idea to its embodiment in the sphere of art. They consis

existence are the differences[161] proper to the idea of beauty and immanent therein. Therefore, the general types of art must reveal themselves in this third part, as before, in the character of the fundamental principle that determines the arrangement and definition of the several arts; in other words, the species of art contain in themselves the same essential modifications as those with which we become acquainted as the general types of art. External objectivity, however, to which these forms are introduced through the medium of a sensuous and therefore particular material, affects these types in the way of making them separate into independent and so particular forms embodyin

ically represented to perception and to feeling, forms the centre of the whole world of art. It is the independent, free, and divine plasticity, which has thoroughly mastered the external elements of form and of medium, and wears them simply as a means to manifestation of itself. Still, as the beautiful unfolds itself in this region in the character of objective reality, and in so doing distinguishes within itself its individual aspe

from its first manifestation as Deity, and passes thereby into the diversity of particulars which belongs to all subjective knowledge-emotion, perception, and feeling. In the analogous province of religion, with which art at its highest stage is immediately connected, we conceive this same difference as follows. First, we think of the earthly natural life in its finiteness as standing on one

o establish an abstract relation. For these reasons, the fundamental type of the fine art of building is the symbolical form of art. It is architecture that pioneers the way for the adequate realization of the God, and in this its service bestows hard toil upon existing nature, in order to disentangle it from the jungle of finitude and the abortiveness of chance. By this means it levels a space for the God, gives form to his external surroundings, and builds him his temple as a fit place for concentration of spirit, and for its direction to the mind's absolute objects. It raises an enclosure round the assembly of those gathered together, as a defence against the threatening of the storm, against rain, the hurricane, and wild beasts, and reveals the will to assemble, although externally, yet in conformity with principles of art. W

art the spiritual inward being which architecture can but indicate makes itself at home in the sensuous shape and its external matter, and in as far as these two sides are so adapted to one another that neither is predominant, sculpture must be assigned the classical form of art as its fundamental type. For this reason the sensuous element itself has here no expression which could not be that of the spiritual element, just as, conversely, sculpture can represent no spiritual content which does not admit throughout of being adequately presented to percep

ond only that external shape which itself maintains its unity and repose. And this is fulfilled by shape in its abstract spatiality.[166] The spirit which sculpture represents is that which is solid in itself, not broken up in

ion into itself of such sensuous existence, and is the animating subjectivity and inner life which brings about the result that the determining principle for the content of art, as well as for the medium which represents it in outward form, comes to be particularization [dispers

ular spiritual being, and as individual character. Now, what manifests itself in this phase as the main thing is not the serene quiescence of the God in Himself, but appearance as such, being which is for another, self-manifestation. And hence, in the phase we have reached, all the most manifold subjectivity in its living movement and operation-as human passion, action, and incident, and, in general, the wide realm of human feeling, will, and its negation,-is for its own sake the object of artistic representation. In conformity with this content, the sensuous element of art has at once to show itself as made particular in itself and as adapted to subjective inwardness. Media that fulfil this requirement we have in colour, in musical sound, and finally in sound as the mere indication of inward perceptions and ideas; and as modes of realizing t

ssical ideal of sculpture, and therefore borrow their type from the romantic form of art, whose mode of plasticity they are most a

also visible and coloured; but it is not, as in painting, visibility as such, not the simple light which, differentiating itself in virtue of its contrast with darkness, and in combination with the latter, gives rise to colour.[173] This quality of visibility, made subjective in itself and treated as ideal, needs neither, like architecture, the abstractly mechanical attribute of mass as operative in the propert

of material is capable of entering into the varied content of painting. The whole realm of particular existence, from the highest embodiment of mind down to the most isolated object of nature, finds a place here. For i

motion and tremor of the material body within itself and in its relation to itself. Such an inchoate ideality of matter,[178] which appears no longer as under the form of space, but as temporal ideality,[179] is sound, the sensuous set down as negated, with its abstract visibility converted into audibility, inasmuch as sound, so to speak, liberates the ideal content from its immersion in matter. This earliest inwardness of matter and inspiration of soul into it furnishes the medium for the mental inwardness-itself as yet indefinite,-and for the soul[180] into which mind concentrates itself; and finds utterance in its tones for

music had developed now makes its appearance as the completely concrete point, the point which is mind, the self-conscious individual, which, producing out of itself the infinite space of its ideas, unites it with the temporal character of sound. Yet this sensuous element, which in music was still immediately one with inward feeling, is in poetry separated from the content of consciousness. In poetry the mind determines this content for its own sake, and apart from all else, into the shape of ideas, and though it employs sound to express them, yet treats it solely as a symbol without value or import. Thus considered, sound may just as well be reduced to a mere letter, for the audible, like the visible, is thus depressed into a mere indica

ke the sensuous medium. Thus architecture is treated as crystallization; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance. Or, again, these differ

ganic nature dealt with by another art. The classical type of art, on the other hand, finds adequate realization in sculpture, while it treats architecture only as furnishing an enclosure in which it is to operate, and has not acquired the power of developing painting and music as absolute[183] forms for its content. The romantic type of art, finally, takes possession of

constitute the self-unfolding Idea of beauty. It is as the external realization of this Idea that the wide Pantheon of art is being erected, whose arch

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BRENDON and

TNO

rk, Applet

, Griggs an

h, Oliver an

Parts, because of the disproportionate length of t

ace to "

ter," is one of Aristotle's comments on Plato's "eternal" ide

is sense. Plato is not decrying observation, but demanding a theoretical t

the Birds," by

ote above

rce to his pleading which English cannot render. He appeals, e.g.,

igher Pantheism," espe

r He hears, and Spirit

eathing, and nearer

s "?sthetik in Deutschland," p. 4, and Scherer's "

lusion to "born of wat

l sense of having separate existence; detached, so to speak, from the

distinguishing itse

ch?ne-in de

setzm?ss

nt"-a disparagin

merely thrown together in an aggregate, or occurring in a ser

as G?tt

iene und

ommon circumstances and sensation

n-und Fürsi

Explic

.g. colour, sound,

any mental function entering into art-

sophy," "Wi

e matter of art must not leave hold of, le

shaping, as if ar

unstken

elehrsa

?netische

given the best rendering. It is wider than Plasti

ler, in 1795, first brought Schiller and Goethe into contact. It

nature or art, but the perfecti

ndividu

Helldu

r. δραμα = Hand

Ersche

Bestim

Bestim

et wird"-"Is

re, who was unpopular in Germany before

sehen nicht die

contained in the principle, and of the

"Ma

Nach-m

ii. 347. Goethe's "G?tz von Berlichingen" a

tz." The bulk of his great works are of the same date as the "Iphigenie," or later. See Scherer,

from irr

ate answer, depending on a number of ideas w

art from the wishes and, perhaps,

Fursic

rivative from h

attitude, bearing, g

"Bild

urfniss z

ure it definitely, like a thing with att

the fact that you are afraid does not i

n which morality, justice, etc., may be, but have not ro

cts or relations, age, pha

at, for example, of an animal has in its own separate life. So it must simp

i.e.

tasted which is not

Anscha

hich are to reality as

"figure,

Handgr

nes geis

as much applicable to

elei," lit.

Kunsts

the one-sided purpose of making a thing over ag

at the business of

f imit

c" means "odd or wild." Hegel on

cal, without

bid referring it to colour. I suspec

Erschü

ed to proofs, pro and con, which do not rest on a thorough co

Raison

or general; i.e. not taking account of var

Befang

e meaning of Θεωρειν without a trace of allusion to "th

The m

e., here, audie

Kernsp

ay or may not exist," as the trivial, which

s." I do not suppose there is

sh sense. It means the habit of virtue, without th

ss or scrupulosity. The above sentence is

re there is no notion of developme

"Ge

t of the command of duty. The "reconciliation" would be in supposing the natural affection, e.g. for paren

n und f

und für s

lgemeine

Vorste

Pref. Ess

s-what was above describe

"An

ür sich wahrem

ee p. 6

nsch wie er g

n und fü

weck-m?s

s as an idea. A knife does not include cutting, nor a spade digging, although their construction i

"Für

n und fü

] By

Unbefan

ee Helmholtz's "Popular Lectures," series i., lecture ii.; but comp

re Browning

but the att

he completer

f the moral

"Of Grace and Dignity," a work o

"Gesin

Welt, sie war nicht, eh' ich sie erschuf," etc., app

be a misprint. "So ist nichts an und für si

und für si

tract. (ii.) Everything is a semblance for it

s alles an sich setzen

apacity of alternatives; it is opposed to real freedom, which is identi

ate of mind in which genius is dominant

self-indulgence, but the above-described enjoy

;" which is the other side of this

] "E

ehnsucht

formed like Redselig, etc., but to be given an equivocating reference to "

tlen," "E

e used etymologically, as a remin

more especially the bearing of one who be

erer, Eng. Tr

s as constituting, and reflecting on, an ideal unity between them. This may seem to put a non-natural meaning on the term "person" or "subject," as if the common element of a number of intelligences could be a single person. It is obvious that the q

histle," a plant of the genus

s spirit an

he idea

u have Egyptian, Greek, Christian religion, etc., with the corresponding views and sentiments, each in its own relation to art; (ii.) y

eing intellectual, not sensuous, at root-and answers that these media qua natural objects have, though more latent than i

fancy, etc.; meaning ideally determinate, and fit for translating into pictures, poetry, etc. These

note, p. 1

e p. 134

this means the process of shaping

n or symbol of the divine, and as there is no real connection between divinity and the stone, it may either be le

those of many barbaric religions. But its truth may be very simply verified in daily observation of the first attempts of t

ie als I

and defective representations all the meaning they hav

ng," lit. "f

iche Begriff," lit.

ion of mind; art finds him, and adapts his shape to the artis

ependent of an appropriate body-the human s

mind or spirit, because these words make us think of an isolated individual, a mind or soul

s outside one another. The so-called terms of a judgment are a

wning's "Old Pict

of feeling and imaginat

.e. conscious in

ichkeit," lit

dered as or determ

ds, but having the character of spirit in that its parts a

t and object, as between things in space. Goodness, noblene

The ro

ifications naturally ar

Classical Art; but there is a Symbolic kind of sculpture, and I suppose a Romantic or modern kind

to the purposes of life and o

sch?ne Ar

a machine or an animal contrasted with a wheel or a limb, which latter are finite, because they dema

ken simply as an ob

Turner with the same. "Subjectivity" means that the work of art appeals to our ordinary feelings, experiences, etc. Mus

ation is not visible, but exists in common sentiments, p

applied to consciousness, becau

Brutus, can yo

for the eye

ion, by some o

us C

is actually heard being fugitive; a picture, in respect of the third dimension, which has to be read into it; and poetry is almost wholly ideal, i.e. uses hardly any sensuous element, but appeals almo

nd literally the same everywhere and for every one. And both painting and music (immediately sensuous elements) are less completely a

in the greater flexibility of painting, music, or poetry, as compared with architecture and sculpture, but in the fact

ne of colour, which Hegel unfortunately

ns landscape

is dialectic. See "Wiss. der Logik.," i. 104. I know of no equivalent but "put by," provincial Scotch "put past." The negation of space is an attribute of music. Th

ernal to each other, are not disting

"Auf

rous body, its extension, only appears in its sound indirectly, or inferen

"ideal" than co-existence in space, becaus

ct. "Geist" is rather mind as the common nature of intelligence. Thus in

And, as a matter of proportion, what he here says is true. It must be remembered that the beauty of sound in poetry is to a great extent indirect, being supplied by the passion or emotion which the ideas symbolized by the sounds arouse. The beauty of poetical sound in itself is very likely

es which form the essential parts or factors of any idea. They make their ap

, and so of pe

riber'

rrected, but inconsistencies of spelling,

ace and Prefatory Essay by the Translator, omitt

contains a number of aste

book catalogue index to Th