The Philosophy of Fine Art, volume 2 (of 4) / Hegel's Aesthetik

Opening of the book

THE PHILOSOPHY OF
FINE ART
BY
G. W. F. HEGEL
TRANSLATED, WITH NOTES, BY
F. P. B. OSMASTON, B.A.
AUTHOR OF "THE ART AND GENIUS OF TINTORET," "AN ESSAY
ON THE FUTURE OF POETRY," AND OTHER WORKS
VOL II
LONDON
G. BELL AND SONS, LTD.
1920
CONTENTS OF VOL. II
SECOND PART
INTRODUCTION
[Evolution of the Ideal in the Particular Types of Fine
Art, namely, the Symbolic, the Classical, and the
Romantic. Symbolic Art seeks after that unity of ideal

significance and external form, which Classical art in
its
representation
of
substantive
individuality
succeeds in securing to sensuous perception, and
which Romantic art passes beyond, owing to its
excessive insistence on the claims of Spirit]
SUBSECTION I
THE SYMBOLIC TYPE OF ART
INTRODUCTION
OF THE SYMBOL GENERALLY
[1. Symbol as a sign simply in language, colours, etc.
8
2. Not a mere sign to represent something else, but a
significant fact which presents the idea or quality it
symbolizes 9
3. Thing symbolized must have other qualities than
that accepted as symbol. Term symbol necessarily
open to ambiguity 10
(a) Ambiguity in particular case whether the concrete
fact is set before us as a symbol. Difference between a
symbol and a simile. Illustrations 10
(b) Ambiguity extends to-entire worlds of Art, e.g,
Oriental art. Two theories with regard to mythos
discussed and contrasted 14
(c) The problems of mythology in the present treatise
limited to the question, "How far symbolism is
entitled to rank as a form of Art?" Will only consider
symbol in so far as it belongs to Art in its own right
and itself proceeds from the notion of the Ideal, the
unfolding of which it commences] 19
DIVISION OF SUBJECT
[1. The artistic consciousness originates in wonder.
The effects that result from such a state. Art the first
interpreter
of
the
religious
consciousness.

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