The Introduction to Hegel's Philosophy of Fine ArtKegan Paul, Trench, Trübner, 1905 - 211 páginas |
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The Introduction to Hegel's Philosophy of Fine Art Georg Wilhelm Friedrich Hegel Vista completa - 1886 |
The Introduction to Hegel's Philosophy of Fine Art Georg Wilhelm Friedrich Hegel Vista completa - 1886 |
Términos y frases comunes
abstract activity actual adequate antithesis appear apprehension artistic beauty artistic production aspect attained beautiful sinner beauty of art beauty of nature belongs character colour concrete consciousness definite determinate distinction divine duction element essence essential external fact fancy feeling fine art finite form of art freedom genius genuine Goethe Hegel higher human idea ideal imagination imitation immortal songs inasmuch individual infinite inner instance intelligence interest judgment Kant Ludwig Tieck man's matter means medium merely mind mind's eye mode moral necessity ness notion object Pantheism particular passions peculiar philosophy Plato poetry point of view present principle purely purpose question reality realization reason reduplicates reflection regarded relation representation scientific sculpture semblance sense sensuous existence sensuous form shape side Solger soul speak spiritual supra-sensuous world symbol symbolic art taste teleological character term of disparagement thereby things thought tion true truth ultimate fact unity universal
Pasajes populares
Página 54 - One may well hope that art will continue to advance and perfect itself, but its form has ceased to be the highest need of the spirit. In all these relationships art is and remains for us, on the side of its highest vocation, something past.
Página 190 - ... creations into a world of actualized beauty. The content of this world is the beautiful, and the true beautiful, as we saw, is spiritual being in concrete shape, the Ideal; or, more closely looked at, the absolute mind, and the truth itself. This region, that of divine truth artistically 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,...
Página 172 - ... while sensuous existence contains manifold varieties of matter. But as this latter, like the mind, has the Idea potentially for its inner soul, it follows from this that particular sensuous materials have a close affinity and secret accord with the spiritual distinctions and types of art presentation. In its completeness, however, our science divides itself into three principal portions. First, we obtain a general part. It has for its content and object the universal Idea of artistic beauty —...
Página 186 - Now, Christianity brings God before our intelligence as 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 and in spirit. Thus the new content,...
Página 184 - ... self-conscious science. By this means Man breaks the boundary of merely potential and immediate consciousness, so that just for the reason that he knows himself to be animal, he ceases to be animal, and, as mind, attains to self-knowledge. If in the above fashion the unity of the human and divine nature, which in the former phase was potential, is raised from an immediate to a conscious unity, it follows that the true medium for the reality of this content is no longer the sensuous immediate...
Página 152 - Wiirde," * and in his poems more particularly from the fact that he makes the praise of women his subject matter ; because it was in their character that he recognized and held up to notice the spontaneously present combination of the spiritual and natural. Now this Unity of the universal and particular, of freedom and necessity, of the spiritual and the natural, which Schiller grasped from a scientific point of view as the principle and essence of art, and laboured indefatigably to evoke into actual...
Página 90 - ... only in as far as, being the offspring of mind, it continues to belong to the realm of mind, has received the baptism of the spiritual, and only represents that which has been moulded in harmony with mind. A human interest, the spiritual value which attaches to an incident, to an individual character, to an action in its plot and in its denouement, is apprehended in the work of art, and exhibited more purely and transparently than is possible on the soil of common unartistic reality.
Página 198 - The arts, then, of which form and content exalt themselves to ideality, abandon the character of symbolic architecture and the classical ideal of sculpture, and therefore borrow their type from the romantic form of art, whose mode of plasticity they are most adequately adapted to express. And they constitute a totality of arts, because the romantic type is the most concrete in itself.
Página 50 - Art liberates the real import of appearances from the semblance and deception of this bad and fleeting world, and imparts to phenomenal semblances a higher reality, born of mind. The appearances of art, therefore, far from being mere semblances, have the higher reality and the more genuine existence in comparison with the realities of common life.
Página 114 - ... This was the third point of view which we set before us with reference to the work of art, and the closer discussion of which will finally make the transition to the actual and true conception of art. If in this aspect we glance at the common consciousness, a current idea which may occur to us is: (a) The principle of the imitation of nature. According to this view the essential purpose of art consists in imitation, in the sense of a facility in copying natural forms as they exist in a way that...