The Philosophy of Fine Art, volume 1 (of 4): Hegel's AesthetikHegel, Georg Wilhelm Friedrich
Philosophy
The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik
Hegel, Georg Wilhelm Friedrich
Aesthetics
This doubt, then, whether an object of the inward world of our ideas
and intuitions actually exists as an independent fact or not, as also
that further incidental problem, whether the particular consciousness
in question has produced it in itself, and whether the particular
mode or process, in which it objectified it to itself, is also
adequate to the object thus envisaged in its essential and independent
nature--these are precisely the kind of questions which have awakened
in men the higher demand of philosophy, which is that, even if there
is every appearance that an object is, or that we have before us
such an object, yet none the less that object must be expounded or
demonstrated on the basis of its necessity. A demonstration of this
kind, if developed on truly philosophical lines, ought at the same time
to supply a sufficient answer to the question: _What_ a given object
is. To work this out fully would, however, carry us further than is
now possible. We propose to limit ourselves to the following general
remarks.
If we are to propound the necessity of our subject-matter, in other
words the beauty of art, we are bound to prove that art, or the
beautiful, is a result of antecedents such as, when regarded relatively
to their true notional concept, conduct us with scientific necessity
to the similar notion of fine art itself. Inasmuch as, however, we
propose to make art the point of departure, and its idea and the
objective presence of the same, and do _not_ propose to deal with the
antecedent conditions which are essential to the necessary exposition
of its notional concept, for this reason art, in our treatment of it as
a particular object of scientific inquiry, involves a pre-assumption,
which lies outside the boundary of our investigation; which, implying
as it does a different content, belongs, as scientifically treated,
to another course of philosophical inquiry. We have therefore now no
other alternative than frankly to accept the notional idea of art,
so to speak, provisionally[36], which is inevitable with every one
of the _particular_ philosophical sciences, if regarded in their
abstract isolation. For it is the entire body of philosophy, and that
alone, which either is or can be the comprehension of the universe
as one essentially _single_ organic totality; and which, as such a
totality, self-evolved from its own notional Idea, and returning into
itself so as to form a whole in virtue of the necessary principle
in which it is placed relatively to itself, encloses itself, and
all that is itself, into one single world of truth. In the coronal
of this scientific necessity is every particular member thereof a
self-complete circle which returns into itself, while, at the same
time, and as imperatively, it possesses a necessary bond of connection
with other parts. This bond of coherence is a backward from which it
is self-derived, no less than a forward to which it is self-impelled
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