The Philosophy of Fine Art, volume 2 (of 4)
- Language:
- English
- Status:
- Complete work
- Authorship:
- Written by the author
- Condition of the text:
- Clean text
- Extent:
- ~170,000 words · 798 passages
Cite this work
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 2 (of 4). SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-2-of-4
- MLAHegel. "The Philosophy of Fine Art, volume 2 (of 4)." SigPhi, https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-2-of-4.
- ChicagoHegel. The Philosophy of Fine Art, volume 2 (of 4). SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-2-of-4.
What it is about
The second volume: the three forms of art — symbolic, classical and romantic — and what tells them apart.
Context and history
Hegel did not write these lectures either: editors put them together after his death from his notes and from students' notebooks of different years. The scheme people quote is his — symbolic, classical and romantic art, and the path from architecture to poetry — but the exact wording often is not. The opening definition is worth holding clearly: art is the sensuous appearing of the idea, and therefore neither decoration nor imitation of nature.
Editorial context, not a citable source: unlike the passages of the work itself, these statements cannot be checked against the corpus.
Symbolic Art seeks after that unity of ideal significance and external form, which Classical art in its representation of substantive individuality succeeds in securing to sensuous perception, and which Romantic art passes beyond, owing to its excessive insistence on the claims of Spirit] SUBSECTION I THE SYMBOLIC TYPE OF ART INTRODUCTION OF THE SYMBOL GENERALLY [1. Symbol as a sign simply in language, colours, etc. 8 2. Not a mere sign to represent something else, but a significant fact which presents the idea or quality it symbolizes 9 3. Thing symbolized must have other qualities than that accepted as symbol. Term symbol necessarily open to ambiguity 10 (_a_) Ambiguity in particular case whether the concrete fact _is_ set before us as a symbol. Difference between a symbol and a simile. Illustrations 10 (_b_) Ambiguity extends to-entire worlds of Art, _e.g_, Oriental art. Two theories with regard to mythos discussed and contrasted 14 (_c_) The problems of mythology in the present treatise limited to the question, "How far symbolism is entitled to rank as a form of Art?" Will only consider symbol in so far as it belongs to Art in its own right and itself proceeds from the notion of the Ideal, the unfolding of which it commences] 19 DIVISION OF SUBJECT [1. The artistic consciousness originates in wonder. The effects that result from such a state. Art the first interpreter of the religious consciousness. Conceptions envisaged in plastic forms of natural objects 23 2. The final aim of symbolic art is classical art. Here it is dissolved. The Sublime lies between the
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