The Philosophy of Fine Art, volume 3 (of 4)
- Language:
- English
- Status:
- Complete work
- Authorship:
- Written by the author
- Condition of the text:
- Clean text
- Extent:
- ~180,000 words · 873 passages
Cite this work
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 3 (of 4). SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-of-4
- MLAHegel. "The Philosophy of Fine Art, volume 3 (of 4)." SigPhi, https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-of-4.
- ChicagoHegel. The Philosophy of Fine Art, volume 3 (of 4). SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-3-of-4.
What it is about
The third volume of Hegel's lectures on aesthetics, in English translation.
Context and history
Like all of Hegel's lecture courses, he did not write this text: editors assembled it after his death from his notes and from students' notebooks of different years. The scheme people quote — symbolic, classical and romantic art, and the passage from architecture to poetry — is his, but the particular wording often is not. The most disputed thesis, that of the end of art, does not say that art comes to an end: it says art has ceased to be the highest way in which an age tells itself the truth.
Editorial context, not a citable source: unlike the passages of the work itself, these statements cannot be checked against the corpus.
[Summary. Nature of the relation between the system of Art-types, or the collective totality of ideal world-presentments, and their objective realization in independent works of art. Nature of the process in the evolution of the specific arts themselves, and of the aspects identical in all. The origins of art. Grace, Charm, and severe or agreeable Style] DIVISION OF THE SUBJECT [The principle of differentiation as determined by the sensuous aspect of the subject-matter, and the relation thereto of the human senses of Sight, Hearing, and intellectual Conception. Insufficiency of such a principle of classification. Alternative principle discussed and illustrated of more concrete nature, in which the evolution of truth as the reality of the Idea itself is presented] SUBSECTION I ARCHITECTURE INTRODUCTION [Of the beginnings of human art, and that of building in particular. Of the nature of the subordinate classification of architecture viewed as symbolic, classical and romantic] Division of Subject CHAPTER I INDEPENDENT AND SYMBOLIC ARCHITECTURE Introduction and Subdivision 1. Works of architecture erected in order to unite peoples 2. Works of architecture intermediate between the arts of building and sculpture (_a_) The influence of the generative activity of Nature on the form of buildings (_b_) Further modification of similar conceptions in the obelisks of Egypt and other examples (_c_) Temple enclosures, labyrinths, etc. 3. The transition from self-substantive architecture to the classical type (_a_) The nature of subterranean dwellings (_b_) Construction raised to house
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