By G. W. F. Hegel
This is often the 1st of 2 volumes of the single English variation of Hegel's Aesthetics, the paintings within which he offers complete expression to his seminal idea of artwork. The enormous creation is his most sensible exposition of his normal philosophy of paintings. partially I he considers the overall nature of artwork as a religious adventure, distinguishes the wonderful thing about paintings and the wonderful thing about nature, and examines inventive genius and originality. half II surveys the historical past of paintings from the traditional global via to the tip of the eighteenth century, probing the which means and value of significant works. half III (in the second one quantity) bargains separately with structure, sculpture, portray, tune, and literature; a wealthy array of examples makes bright his exposition of his concept.
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Additional resources for Aesthetics: Lectures on Fine Art, Volume 1
Thereby the false position, already noticed, is at once abandoned, the position, namely, that art has to serve as a means to moral purposes, and the moral end of the world in general, by instructing and improving, and thus has its substantial aim, not in itself, but in something else. If on this account we now continue to speak of a final end and aim, we must in the first place get rid of the perverse idea which, in the question about an end, clings to the accessory meaning of the question, namely that it is one about utility.
This only means that, in considering the beautiful, we are unaware of the concept and subsumption under it, and that the separation between the individual object and the universal concept, which elsewhere is present in judgement, is impermissible here. (c) Thirdly, the beautiful is to have the form of purposiveness' in so far as the purposiveness is perceived in the object without any presentation of a purpose. At bottom this repeats what we have just discussed. Any natural product, a plant, for example, or an animal, is purposefully organized, and in this purposiveness it is so directly there for us that we have no idea of its purpose explicitly separate and distinct from its present reality.
But, on the other hand, this aim of art is supposed to have its higher criterion only in its instructiveness, in fabula docet,' and so in the useful influence which the work of art may exert on the individual. —Now in connection with such instruction we must ask at once whether it is supposed to be contained in the work of art directly or indirectly, explicitly or implicitly. If, in general, what is at issue is a universal and non-contingent aim, then this end and aim, in view of the essentially spiritual nature of art, can itself only be a spiritual one, and moreover one which is not contingent but absolute.
Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel