The Introduction to Hegel's Philosophy of Fine Arts
- Language:
- English
- Status:
- Complete work
- Authorship:
- Written by the author
- Condition of the text:
- Clean text
- Extent:
- ~75,200 words · 357 passages
Cite this work
- APAHegel. (n.d.). The Introduction to Hegel's Philosophy of Fine Arts. SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-introduction-to-hegel-s-philosophy-of-fine-arts
- MLAHegel. "The Introduction to Hegel's Philosophy of Fine Arts." SigPhi, https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-introduction-to-hegel-s-philosophy-of-fine-arts.
- ChicagoHegel. The Introduction to Hegel's Philosophy of Fine Arts. SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-introduction-to-hegel-s-philosophy-of-fine-arts.
What it is about
The introduction to the Lectures on Aesthetics.
Context and history
This is where the 'death of art' thesis appears: that art is no longer the highest form in which spirit knows itself, and that philosophy has taken that place. It has been argued over ever since. **Warning: this is the introduction only**, not the complete Lectures.
Editorial context, not a citable source: unlike the passages of the work itself, these statements cannot be checked against the corpus.
The present course of lectures deals with "Æsthetic." Their subject is the wide _realm of the beautiful_, and, more particularly, their province is _Art_--we may restrict it, indeed, to _Fine Art_. The name "Æsthetic" in its natural sense is not quite appropriate to this subject. "Æsthetic" means more precisely the science of sensation or feeling. Thus understood, it arose as a new science, or rather as something that was to become a branch of philosophy for the first time,[12] in the school of Wolff, at the epoch when works of art were being considered in Germany in the light of the feelings which they were supposed to evoke--feelings of pleasure, admiration, fear, pity, etc. The name was so inappropriate, or, strictly speaking, so superficial, that for this reason it was attempted to form other names, _e.g._ "Kallistic." But this name, again, is unsatisfactory, for the science to be designated does not treat of beauty in general, but merely of _artistic_ beauty. We shall, therefore, permit the name Æsthetic to stand, because it is nothing but a name, and so is indifferent to us, and, moreover, has up to a certain point passed into common language. As a name, therefore, it may be retained. The proper expression, however, for our science is the "Philosophy of Art," or, more definitely, the "Philosophy of Fine Art." [Greek: a.] By the above expression we at once exclude the _beauty of Nature_. Such a limitation of our subject may appear to be an arbitrary demarcation, resting on the principle that every science has the prerogative of marking out its boundaries at pleasure. But this is not the sense in which we are to understand the limitation of Æsthetic to _the beauty of art_. It is true that in common life we are in the habit of speaking of beautiful colour, a beautiful sky, a beautiful river, and, moreover, of beautiful flowers, beautiful animals, and, above all, o
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