The Philosophy of Fine Art, volume 2 (of 4): Hegel's AesthetikHegel, Georg Wilhelm Friedrich
Philosophy
The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik
Hegel, Georg Wilhelm Friedrich
Aesthetics
its _claim to existence_[72] is exhibited as a part of the goodness of
the Creator, which not only veritably affirms the impotence of that
which is essentially nothing apart from Himself, but thereby asserts
His substance as the source of all Power. It is this relation, so far
as it is set forth by art as the fundamental relation, both of content
and form, which brings before us the art-type of the real _Sublime._
The Beauty of the Ideal and Sublimity no doubt present features of
contrast. In the Ideal the Inward transpierces external reality, whose
inward essence it really is under the mode at least, that both aspects
are adequate to each other, and consequently appear to be in perfect
fusion with one another. In the Sublime, on the contrary, the external
existence, in which substance is envisaged for sense, is deposed
in its opposition to that substance, such deposition and vassalage
constituting the only mode, by means of which the God who is in His own
seclusion without form, and in His positive essence incapable of being
expressed by aught that is of the world and finite, can be envisualized
by artistic means. The Sublime pre-supposes the significance in the
self-subsistence of One, in relation to which externality is defined as
in subjection, in so far as that Inward substance fails to appear, but
its transcendent character is so asserted, that in the end nothing can
be represented save just this essential and active transcendency[73].
In the symbol the mode of the _external form_ was the main point
emphasized. It must possess a significance, and yet fail completely
to express it. In contrast to symbol of this kind and its obscure
content we have now a _significance_ in the absolute sense of the
term conjoined with its full recognition. A work of art is now the
actual discharge of pure essence conceived as the intensive purport of
everything, of an essence, however, which deliberately affirms that
very incompatibility of form to significance, which was only implicitly
present in the symbol, to be the actually transcendent significance of
God Himself within the sphere of worldly existence, and above all that
is contained therein.
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