The Philosophy of Fine Art, volume 1 · Georg Wilhelm Friedrich Hegel
THE IDEA OF FINE ART, OR THE IDEAL
It is in virtue of such truth that proof is possible that neither a freedom which is essentially subjective and disparate from every element of necessity is true in the absolute sense; nor, on the other hand, is it admissible to predicate truth of a necessity conceived in absolute isolation from consciousness. Our ordinary conscious life fails to overcome this contradiction, and either plunges desperately into the same, or thrusts it on one side and makes its escape from it in some other way. Philosophy will, however, so address itself to the two determinating factors of the contradiction as to show that they are apprehended as isolate from each other in abstraction, not according to their concrete notion; and by the grasp of this latter it will demonstrate the one-sidedness in its relative character, placing these opposing aspects in the fuller union and harmony which is truth. It is the function of philosophy to grasp and formulate this notion of truth. Unquestionably philosophy recognizes the concrete notion throughout; and it is in virtue of this that it is Thought with full grasp of truth. But what we call the notion is something other than this, truth, that is, in its essential verity together with the existence which is either adequate to it or is not so.
In all finite reality the determinations, which are essential to ideal truth, appear separable from each other, dividing the veil of that which in its absolute Truth is a complete totality. Take the case of a living being. Under such finite categories we are forced to regard it as a subject in opposition to the inorganic Nature which environs it. Both the points of view are no doubt present in the notion, but they are there reconciled. Finite existence, however, thrusts them apart. It is, in short, an existence or reality which is unequal to the unity of the notion. We may therefore say that the notion is valid in every sphere of actuality. At the same time the main point to be determined is whether the notion in its ideal concreteness is actually completed in the particular unity presented, wherein the two aspects posited in opposition persist in no ultimate self-subsistence and coherence over against each other, but are rather ideal phases which tend to pass into a higher unity which cancels such opposition. And the reality of this highest mode of union is only reached when we enter the sphere of truth, freedom, and the satisfaction which they create.
The higher life which belongs to this sphere, this supreme enjoyment of truth, which as feeling is called "blessedness," and as conscious thought "contemplation," we may describe generically as the life known to religion. For religion is just this universal domain[184], in virtue of which the _one_ concrete totality of the World comes to each man in union with himself, as his essential substance, while it remains no less for consciousness the essential truth of Nature. And it is this profounder truth of the Real which alone proves itself invincible over all that is merely particular and finite, being as it is the one absolute harmony wherein all that is otherwise discordant and opposed is finally resolved. Now it is through its direct concern in the true, regarded as the absolute object of consciousness, that Art belongs to the supreme sphere of Spirit, and it is to be placed, in respect to its content, if in a more specific sense, on the same basis as religion and philosophy. I connect these two last for the reason that philosophy has no other object than God. In its substance it is in fact rational theology, and in its service of the truth a continual service of God.
The form of _sensuous perception_ is appropriate to art in the sense that it is art which presents truth to consciousness in its sensuous semblance; but it is a semblance which, under the mode of its appearance, possesses a higher and profounder meaning and significance, although it is not its function to render the universality of the notion wholly intelligible through the medium of sense. It is indeed rather the _unity_ to which art attains with that of the particular appearance which constitutes the essence of the beautiful, the essence of the artistic product. This union is perfected in art not _entirely_ through sensuous objectification, but also through the medium of _imaginative conception._ This is exceptionally so in the art of poetry. At the same time, even in this, the most intellectual or ideal art, the union between significance and the individual mode of its presentation is present with the same, although it is displayed to the imaginative consciousness, and every part of its content is conceived in its immediacy and visualized for the imagination[187]. And generally we must accept the fact that art, possessing as it does truth or Spirit for its object, is unable to reproduce the same by merely copying particular objects of Nature, such as the sun, moon, earth, and stars.
Such are, no doubt, objects of sensuous perception; but, simply as such, they are isolated and can offer no reflection of what is spiritual. In thus attributing to art this absolute significance as a manifestation of Spirit we have expressly set on one side the conception of art which finds its content of too various a nature, or too much occupied with interests foreign to it, to merit such a view. And at the other extreme religion, no doubt, frequently summons art to her service, in order to bring the truths of religion more near to the emotion, or to clothe the same in imaginative form. In both cases unquestionably art is rendering a service to a province not, in strictness, its own. At the same time where art is found in most exalted perfection, in that case no doubt it unfolds in plastic guise the mode of exposition most adequate and essentially necessary to the content of the truth accepted. Among the Greeks, for example, Art was the highest medium under which the community conceived its gods, and became conscious of truth. For this reason we may justly say that the poets and artists of Greece created the gods of their people.
In other words, they defined for the imagination of their people the active life and energy of the Divine Presence, giving Them the definite content of a religion. And this statement must not merely be taken to imply that all Greek artists did was to clothe in imagery or embellish with the beauty of poesy vague conceptions and hearsays which, as general religious maxims or isolated determinations of conscious life, were already present before the era of such poetic creations. The truth of this artistic production is rather to be found in this, that art and poetry were the exclusive forms in which these creative artists could bring to life and expression the ideas which fermented in themselves. In other phases of that consciousness, where we find the content less completely represented by the plastic imagery of art, the scope of Art as the handmaid of religion is of less importance. We have thus indicated what was, at any rate, once the true position of Art in its relation to the highest interests of man's spiritual life.
But inasmuch as art is preceded in Nature and the finite processes of life by a kind of antenatal history, so too there is a history that follows its culmination, which in other terms passes over and beyond its purely conceptive or plastic grasp of the Infinite. For art carries in the notion that gives it life a limit; and it is from this boundary that the human consciousness passes beyond into forms more adequate to its spiritual import. It is this inherent _shortness of the mark_ that fixes the subordinate position we are only too ready to assign to art in our daily life nowadays. For us European art is no longer the highest means in which the actuality of truth is possessed. Speaking generally, thought has long ago pronounced a verdict upon art when it defined it as the portrayal of the Divine by concepts which appeal to sense-perception. This was the judgment passed on it by the Jews and the followers of Mohammed. Nay, we find it present among the Greeks themselves, as the strong opposition of Plato and Homer and Hesiod to the popular conception of the gods proves clearly. There is a period in the education of every civilized nation, when art becomes a sign-post, as it were, to that which stands beyond her border.
The evolution of Christendom is itself an illustration. The historical features of that religion, the resurrection of Christ, His life and death, have doubtless offered to the art of painting a mighty field on which to exercise its imaginative bounty; and the Church has either surrounded such art with its magnificent protection, or suffered it simply to work on unheeded. But as the love of knowledge and scientific research, and yet more the felt want of a more intimate and personal spirituality necessitated the Reformation, the religious imagination was called away from the sensuous medium which enwrapped it, and centred once for all upon the inward spirituality of emotional life and conscious thought. In this way there grew up, so to speak, that posterior twilight of Art's history I referred to, where the want has found a dwelling in man to rest satisfied alone with the pure medium of the soul as the ultimate form of truth. In the earliest beginnings of art we shall find mystery still present, a secret strain and longing which persists because Art's imaginative powers are unable to envisage to sense the complete truth of its content.
When once, however, the mind of man has succeeded in endowing such content with perfect outward shape in art, it is driven inevitably away from this objective realization to its own free spiritual activity as from something repellent to it. A period such as this is our own. We may, indeed, express the hope that art will rise to yet higher grades of technical perfection; but in any case Art in its specific form has ceased to meet the highest requirements of spiritual life. We may still wonder at the unrivalled excellence of the statues of the gods of Hellas, and imagine that God the Father, Christ, and the Virgin Mary have received ideal representation at the hands of more recent painters. But it is of no use. Our knees no longer bow to them.
The sphere of conscious life nearest to that of art is that of religion. The form which belongs to the religious consciousness is that of the _imaginative concept._ The Absolute is here removed from the externality of artistic production, and received in a more spiritual way by the imagination, so that the heart and emotions, the inner life of the individual that is to say, become its vehicle. This progress in spiritual insight from art to religion may be further defined by the statement that art is only one aspect of the religious consciousness. In other words, when a work of art objectifies the truth or mind for sense-perfection, and apprehends this form of the Absolute as the one appropriate to its vision, religion blends with the same the devotional attitude that flows from the inner life confronted with the absolute reality as thus presented. Devotion is a type of emotional existence which is, strictly speaking, outside the province of art. It originates in the fact that the individual suffers that object which art has rendered visible to sense to penetrate the arcana of his emotional life, and so completely identifies himself with it that this inward presence, which the imagination and the inherent might of feeling has rendered possible, becomes an essential phase in the manifestation of absolute reality. Devotion is this cultus of the community in its purest, most intimate, and subjective form; a culture, in which the principle of objectivity is at the same time consumed and absorbed, and the content thereof is transmuted without such objectivity into the possession of heart and soul.
The _third_ and last form or phase in the evolution of absolute mind (spirit) is _philosophy._ In the boundaries of the religious sphere, where God is apprehended in the first instance perforce as an external object, and men are taught that there is a God, and how He has revealed Himself and still is revealed to mankind, the subjective consciousness is indeed made the vehicle of such knowledge, and the religious sense imparted stirs and fills the heart of the community; but the inwardness of devotion which is born of the emotions and the imagination is not the highest form of inwardness. We are bound to recognize that the purest form of knowledge is conscious _thought_ in its freest activity. In this alone the content of knowledge is, adequate to the demands of that which is consciously apprehended: here alone we are in the presence of that most intelligent form of cultus, which seeks wholly to appropriate to itself, and to grasp in concrete thought what is otherwise only the evanescent content of feeling or the imagination. In the purview of such a philosophy art and religion, as two aspects of one truth, become related under a unifying conception. On the one hand, though philosophy, by its surrender of all sensuous externality, has lost the _objective_ presentation of art, yet it has exchanged it for the highest form under which concrete reality is objectively apprehended and redeemed, in other words, that of _speculative reason._ It has, on the other, lost the emotional subjectivity of the religious consciousness in the same pure medium. For while human thought is the most inward and appropriate vehicle of subjective life, such thought, in its fullest grasp of truth, the Idea, is actuality in the most objective and universal sense of the term, and is only to be apprehended by pure thought in the medium native to itself.
With this adumbration of the difference between the spheres of art, religion, and philosophy we must on the present occasion rest content. The sensuous mode of consciousness is that which first appears in the history of mankind. The earliest stages of religion are for this reason indistinguishable from a religion of art and its sensuous manner of presentation. In the religion of Spirit for the first time is God as Spirit cognized also on a higher plane, and one more adequate to thought, wherein it likewise follows as a corollary, that the presentation of truth in sensuous shape is not truly adequate to Spirit. Now that we know something of the position which art occupies in the field of spiritual activity, and that which belongs to the philosophy of art among the several philosophical sciences, we will proceed in this introductory portion of our work in the first place to investigate the general idea of the beauty of art.
Ideas discussed in this chapter
Text from Project Gutenberg, public domain in the United States.