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By G. W. F. Hegel

This is often the 1st of 2 volumes of the one English variation of Hegel's Aesthetics, the paintings within which he offers complete expression to his seminal idea of paintings. The great creation is his top exposition of his common philosophy of artwork. partly I he considers the overall nature of artwork as a non secular event, distinguishes the great thing about artwork and the wonderful thing about nature, and examines creative genius and originality. half II surveys the historical past of paintings from the traditional global via to the top of the eighteenth century, probing the which means and value of significant works. half III (in the second one quantity) offers separately with structure, sculpture, portray, tune, and literature; a wealthy array of examples makes shiny his exposition of his concept.

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Aesthetics: Lectures on Fine Art, Volume 1

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 paintings. The significant creation is his most sensible exposition of his normal philosophy of paintings. partly I he considers the overall nature of paintings as a religious event, distinguishes the great thing about artwork and the great thing about nature, and examines inventive genius and originality.

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But the doctrine of moral betterment, carried through logically, is not content with holding that a moral may be pointed from a work of art; on the contrary, it would want the moral instruction to shine forth clearly as the substantial aim of the work of art, and indeinTafld expressly permit the presentation of none but moral subjects, moral characters, actions, and events. For art can choose its subjects, and is thus distinct from history or the sciences, which have their material given to them.

The result is that now consciousness wanders about in this contradiction, and, driven from one side to the other, cannot find satisfaction for itself in either the one or the other. For on the one side we see man imprisoned in the common world of reality and earthly temporality, borne down by need and poverty, hard pressed by nature, enmeshed in matter, sensuous ends and their enjoyment, mastered and carried away by natural impulses and passions. On the other side, he lifts himself to eternal ideas, to a realm of thought and freedom, gives to himself, as will, universal laws and prescriptions, strips the world of its enlivened and flowering reality and dissolves it into abstractions, since the spirit now upholds its right and dignity only by mishandling nature and denying its right, and so retaliates on nature the distress and violence which it has suffered from it itself.

This activity is the rational element which exists as spirit only in so far as it actively drives itself forth into consciousness, yet what it bears within itself it places before itself only in sensuous form. Thus this activity has a spiritual content which yet it configurates sensuously because only in this sensuous guise can it gain knowledge of the content. This can be compared with the characteristic mentality of a man experienced in life, or even of a man of quick wit and ingenuity, who, although he knows perfectly well what matters in life, what in substance holds men together, what moves them, what power dominates them, nevertheless has neither himself grasped this knowledge in general rules nor expounded it to others in general reflections.

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