By Georg Wilhelm Friedrich Hegel
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Additional resources for Aesthetics: lectures on fine art, Volume 1
Hegel knew him well and often visited him in Weimar. Goethe thought highly of Hegel but wished that he could express him8elf more clearly. Others have had a similar wish. a r824-36-History of the bildenden arts in Greece. Bosanquet, op. , p. 67, tentatively suggests 'formative' as a translation of bildenden. But all the arts are 'formative' in one way or another. Hegel refers often to the bildenden arts, and he means by them architecture, sculpture, and painting, as distinct from music and poetry.
This consciousness of himself man acquires in a twofold way: first, theoretically, in so far as inwardly he must bring himself into his own consciousness, along with whatever moves, stirs, and presses in the human breast; and in general he must see himself, represent himself to himself, fix before himself what thinking finds as his essence, and recognize himself alone alike in what is summoned out of himself and in what is accepted from without. Secondly, man brings himself before himself by practical activity, since he has the impulse, in whatever is directly given to him, in what is present to him externally, to produce himself and therein equally to recognize himself.
But this implies at once the false idea that a philosophical discussion can also be unscientific. On this point I can only say in brief that, whatever ideas others may have about philosophy and philosophizing, my view is that philosophizing is throughout inseparable from scientific procedure. ; it has to unfold and prove the object, according to the necessity of its own inner nature. It is only this unfolding which constitutes the scientific element in the treatment of a subject. But in so far as the objective necessity of an object lies essentially in its logical and metaphysical nature, the treatment of art in isolation may, and indeed must, be exempt from absolute scientific rigour; art has so many preconditions both in respect of its content and in 82t3715 B INTRODUCTION I2 respect of its material and its medium, 1 whereby it always simultaneously touches on the accidental; and so it is only in relation to the essential inner progress of its content and means of expression that we may refer to its necessary formation.
Aesthetics: lectures on fine art, Volume 1 by Georg Wilhelm Friedrich Hegel