The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel

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СКАЧАТЬ is neither himself free, begirt as he is by the particular limited and transitory interests of his desires, for his definite acts do not proceed from the essential universality and rationality of his will, neither is he free relatively to the external world, for desire66 remains essentially determined by things and related to them.

This relation, then, of desire is not that in which man is related to the work of art. He suffers it to exist in its free independence as an object; he associates himself with it without any craving of this kind, rather as with an object reflective of himself67, which exists solely for the contemplative faculty of mind. For this reason, as we have said, the work of art, although it possesses sensuous existence, does not require sensuous concrete existence, nor yet the animated life of such objects. Or, rather, we should add, it ought not to remain on such a level, in so far as its true function is exclusively to satisfy spiritual interests, and to shut the door on all approach to mere desire. Hence we can understand how it is that practical desire rates the particular works of Nature in the organic or inorganic world, which are at its service, more highly than works of art, which are obviously useless in this sense, and only contribute enjoyment to other capacities of man's spirit.

(ββ) A second mode under which the externally present comes before the conscious subject is, as contrasted with the single sensuous perception and active desire, the purely theoretical relation to the intelligence. The theoretic contemplation of objects has no interest in consuming the same in their particularity and satisfying or maintaining itself through the sense by their means; its object is to attain a knowledge of them in their universality, to seek out their ideal nature and principle, to comprehend them according to their notional idea. Consequently this contemplative interest is content to leave the particular things as they are, and stands aloof from them in their objective singularity, which is not the object of such a faculty's investigation. For the rational intelligence is not a property of the particular person in the sense that desire is so; it appertains to his singularity as being itself likewise essentially universal. So long as it persists in this relation of universality to the objects in question, it is his reason in its universal potency which is attempting to discover itself in Nature, and thereby the inward or essential being of the natural objects, which his sensuous existence does not present under its mode of immediacy, although such existence is founded therein. This interest of contemplation, the satisfaction of which is the task of science, is, however, shared in this scientific form just as little by art as it shared in the common table of those impulses of the purely practical desire. Science can, it is true, take as its point of departure the sensuous thing in its singularity, and possess itself of some conception, how this individual thing is present in its specific colour or form. But for all that this isolated thing of sense as such possesses no further relation to mind, inasmuch as the interest of intelligence makes for the universal, the law, the thought and notion of the object, and consequently not only does it forsake it in its immediate singularity, but it actually transforms it within the region of idea68, converting a concrete object of sense into an abstract subject-matter of thought, that is converting it into something other than the same object of its sensuous perception actually was. The artistic interest does not follow such a process, and is distinct from that of science for this reason. The contemplation of art restricts its interest simply in the way in which the work of art, as external object, in the directness of its definition, and in the singularity wherein it appears to sense, is manifested in all its features of colour, form, and sound, or as a single isolated vision of the whole; it does not go so far beyond the immediately received objective character as to propose, as is the case with science, the ideal or conceptive thinking of this particular objectivity under the terms of the rational and universal notion which underlies it.

The interest of art, therefore, is distinguishable from the practical interest of desire in virtue of the fact that it suffers its object to remain in its free independence, whereas desire applies it, even to the point of destruction, to its own uses. The contemplation of art, on the other hand, differs from that of a scientific intelligence in an analogous way69 in virtue of the fact that it cherishes an interest for the object in its isolated existence, and is not concerned to transform the same into terms of universal thought and notion.

(γγ) It follows, then, that, though the sensuous materia is unquestionably present in a work of art, it is only as surface or show of the sensuous that it is under any necessity to appear. In the sensuous appearance of the work of art it is neither the concrete material stuff, the empirically perceived completeness and extension of the internal organism which is the object of desire, nor is it the universal thought of pure ideality, which in either case the mind seeks for. Its aim is the sensuous presence, which, albeit suffered to persist in its sensuousness, is equally entitled to be delivered from the framework of its purely material substance. Consequently, as compared with the immediately envisaged and incorporated object of Nature, the sensuous presence in the work of art is transmuted to mere semblance or show, and the work of art occupies a midway ground, with the directly perceived objective world on one side and the ideality of pure thought on the other. It is not as yet pure thought, but, despite the element of sensuousness which adheres to it, it is no longer purely material existence, in the sense at least that stones, plants, and organic life are such. The sensuous element in a work of art is rather itself somewhat of ideal intension70, which, however, as not being actually the ideal medium of thought, is still externally presented at the same time as an object. This semblance of the sensuous presents itself to the mind externally as the form, visible appearance, and harmonious vibration of things. This is always assuming that it suffers the objects to remain in their freedom as objective facts, and does not seek to penetrate into their inward essence by abstract thought, for by doing so they would (as above explained) entirely cease to exist for it in their external singularity.

For this reason the sensuous aspect of art is only related to the two theoretical71 senses of sight and hearing; smell, on the other hand, taste, and the feeling of touch are excluded from the springs of art's enjoyment. Smell, taste, and touch come into contact with matter simply as such72, and with the immediate sensuous qualities of the same; smell with the material volatization through the air; taste with the material dissolution of substance, and touch or mere bodily feeling with qualities such as heat, coldness, smoothness, and so forth. On this account these senses cannot have to do with the objects of art, which ought to subsist in their actual and very independence, admitting of no purely sensuous or rather physical relation. The pleasant for such senses is not the beauty of art. Thus art on its sensuous side brings before us deliberately merely a shadow-world of shapes, tones, and imaged conceptions73, and it is quite beside the point to maintain that it is simply a proof of the impotence and limitations of man that he can only present us with the surface of the physical world, mere schemata, when he calls into being his creative works. In art these sensuous shapes and tones are not offered as exclusively for themselves and their form to our direct vision. They are presented with the intent to secure in such shape satisfaction for higher and more spiritual interests, inasmuch as they are mighty to summon an echo and response in the human spirit evoked from all depths of its conscious life. In this way the sensuous is spiritualized in art, or, in other words, the life of spirit comes to dwell in it under sensuous guise.

(β) For this reason, however, a product of art is only possible in so far as it has received its passage through the mind, and has originated from the productive activity of mind. This brings us to another question we have to answer, and it is this: "How is the sensuous or material aspect, which is imperative as a condition of art, operative in the artist as conjoined to his personal productive activity74?" Now this mode or СКАЧАТЬ