7 7 Aesthetics of Hegel

The final link in the creation of a system of philosophical knowledge within the framework of German classical philosophy is the aesthetics of Georg Hegel (1770-1831). Aesthetics in Hegel’s philosophy appears to be a necessary component of the scroll of the spirit, and therefore the aesthetic problems in the Phenomenology of the Spirit (1807), however , still in undeveloped form, in the Philosophy of the Spirit , and it acquires the completed system in Lectures on aesthetics (1835 - 1838). Certain aspects of the problem are investigated in Philosophical Propaedeutzi , Philosophy of History , Philosophy of religion , History ilosofiitorії "," Fіlosofії relіgії "," Іstorії fіlosofії ".

Hegel began as a representative of the "critical philosophy" under the influence of the ideas of Kant and Fichte (transcendental idealism). Therefore, under the influence of F. Schelling, he begins to adhere to the positions of objective ("absolute" idealism-currency) idealism.

In the Phenomenology of the Spirit aesthetics is considered in the framework of religion as an awareness of the absolute essence in general along with consciousness, self-consciousness, mind and spirit [4, p. 461] The analysis of the ascent of the spirit of June through self-consciousness goes through the necessary stages to finally come to the state when he acts by the spirit and knows himself as all truth and reality [4, p. 467] Consciousness is a process of movement of consciousness, where the first step is the awareness of the spirit itself in the form of contemplation of itself as sensual authenticity, "forms of formlessness" (stage indefinitely STI) Let's say that this is the perception of sunrise outside the creation of the image of the object. The second stage is the ascent to the creation of the shape of the object, thereby being the product of the “I”, ie associated with the process of self-awareness. At this stage, the concept of spirit is deepened, because the conscious awn creates imaginary representation of being for itself in the form of an object of the highest step at the second stage is formation, where the spirit acts as a master. Spirit becomes conscious of itself through the form object in Anna; being-in-itself, that is, on the material of formation and being-for-itself, i.e. self-awareness in labor The real result of the process is the objectification of the spirit; in the creation of self-consciousness reaches the level of knowledge of oneself the master transforms the external reality into a form that has a soul . From organic forms subordinate to the forms of thinking, various types of art develop (methods of objectifying duhanish forms of confusion, develop (help obkєtacatsіi spirit).

It is at the second stage of the self-consciousness of the spirit, when it realizes itself in the form of canceled naturalness, or in the form of I , there is a connection between religion and art, which, according to Hegel’s characterization, is religion must religion as art Here the spirit rises to the form I and itself creates such a form The philosopher shows the historical forms of such a generation In the process of activity, as a result of concentration of the spirit in a separate individuality, that belongs to the substance, the artist fully gives his work P at the stage before the fighter happened, the product still does not arise as a result of the artist’s self-empowerment, and therefore he cannot be regarded as having a soul. After all, creativity is a phenomenon of self-consciousness by the spirit itself, in addition to this, there is a split in the work of certainty of activity and being-anniversary (being in the sense of the thing), because their unity did not happen. Although it is possible that amazed crowd IT work as a spirit, is its essence [4, pp. 481-482] in an adequate way of objectifying the divine essence, Hegel notes, - language, existence, which itself is a conscious existence In it, at the same time, fluidity and universality -communicative unity of many I , this soul exists as a soulful plinnost and universally communicatively united bagatyokh "I"; Tse soul, scho іsnuє yak soul.

Separating religion as art , Mr. Hegel shows that in her the figure of God has gained consciousness, and consequently, uniqueness

Having passed the stages of natural and artistic religion , where he manifested himself with beauty and morality, the spirit enters into a state of awareness of the loss of knowledge about himself - the loss of both substance and I This is suffering, expressed in words: God died [4, p 508] Rational thinking presents the truths of the absolute to the simple ideas of beauty and good. At this stage, the spirit between the sensual (dual individuals) and the abstract (universal) sides of consciousness is not overcome by the spirit, which does not allow reach the next step - religion revelation Relig As art is completed and returns to itself. Analysis of the ideas of "art of religion" within the framework of the problem of the phenomenology of the spirit is important in that the formation of a number of ideas of Hegel's aesthetics already occurred in the early period of the creativity of G. Hegel already in the early period of creativity.

Lectures on aesthetics of Hegel contain a systematic course of aesthetic knowledge arising in the general system of his philosophy as one of the stages of the self-development of an idea. The analysis of aesthetic problems, like the whole of philosophy, Hegel puts on a dialectical method and a system of objective idealism. The position of objective idealism, justified by the philosopher in the Phenomenology of the Spirit , concretized in the theory of aesthetics as the concept of the embodiment of the spirit in the form of reality is common in experience acquires sensually tangible forms of its manifestation I As the researchers note, now not reality is reflected in the form of knowledge, but on the contrary, ideas embody themselves in the form of reality and thereby acquire an independent existence that is different from itself, as if they are causally determined by reality .

The concept of absolute spirit - spiritual substance manifests itself in consciousness in the form of the ascent of the spirit to the service of perfection. The general tendency, which allows to trace the self-development of the spirit, is a measure of concreteness of the idea of the universal. The first step is the subjective spirit (in the form of manifestation of individual experience); the second is an objective spirit (the experience of social life, history); the third is absolute and the spirit (knowledge of the spirit itself) This is the highest stage of its development. Here the absolute spirit aims to make itself its subject and reveal its essence for itself, that is, to realize its inherent freedom and infinity. At this stage (in the form of absolute spirit) he, in turn, it consistently goes back to the absolute of consciousness in the forms of art, religion, philosophy. Moreover, this is not a parallel series, but a change in the forms of disclosure and awareness of the meaning of spiritual experience in movement through denial of denial, where truth appears in forms ozertsaniya (art), representation (religion), the concept of (filosofiyayattya (fіlosofіya).

Art in the aesthetics of Hegel is first seen as one of the stages of humanity’s self-consciousness, one of the ways of relating to the world. This is the stage of sensual manifestation of the idea in the form of the artistically beautiful Absolute yutny spirit objectifies itself in art in a sensually visible way - in the forms of the beautiful, also moving to the service of perfection, the process of self-development of the spirit in the forms of art is a historical process in the setting of the self-consciousness, has an ascending progressive character. Its general pattern is the movement of consciousness from the concrete to the universal in the sense of experience, time within the framework of the concrete forms of its formation is typically the reverse process: the movement of consciousness from the general to the special. In art, which is the first step in the self-development of absolute spirit, there is a movement from abstract ideas to absolute values of life in their concretization in thinking and images. Accordingly, the sphere of the study of the self-development of the spirit in the aesthetic relation to the world stands out. It is characterized as manifestations of historical origin in the beautiful Accord Mr. Hegel, art - is an area where the spirit is free contemplates sebglyadaє currently.

Hegel defines the subject of aesthetics as artistically beautiful , which lies in the middle between direct sensuality and thought, which belongs to the sphere of the ideal [5, p. 44] According to Hegel, the definition of philosophy of art accurately reflects the content of the science of aesthetics. or philosophy of artistic creativity [5, p. 7] He sees the purpose of aesthetics in synthesizing the achievements of art criticism on the basis of philosophical generalizations, keeping the idea of developing artistic consciousness as the integrity of the development of the spirit in Elah not alienated, sensually-images of its being, consistent with the idea of the beautiful. Place in systems and philosophical knowledge is objectively determined by the fact that aesthetics explores the laws of artistic creativity as a free embodiment of the universal truths of the spirit along with religion and philosophy with the view that even art embodies the most sublime objects in sensual forms, bringing them closer to nature and its nature (nature - M) manifestations, feelings and feelings [5, p. 14] Let us recall in passing that here Hegel holds the position and anta and romantics who believed art sphere of freedom of expression of creative possibilities duhyu Svobody samoviyavu CREATIVE mozhlivostey spirit.

Hegel made a qualitatively new understanding of the essence of art in terms of understanding the dialectic of the sensual and rational, the idea and image, the ideal and the real. The mentioned range of problems became the subject of anal crawling in the aesthetics of F Ishler (in the context of the idea of naive and sentimental art), F Schelling (the idea of the dialectic of ideal and real in art) Hegel considers art to be the subject of aesthetics precisely because it is a “product of thought,” capable of penetrating into the depths of the supersensible world, freeing itself from power today d. From sensual reality in its fluidity. In this discontinuity with singularity and random. The number of phenomena gives rise to art, where the immediate sensuality of reality is freed from chance, formed into spiritual integrity by the freedom of thinking knowledge. Therefore, works of art reflect true e: intra-viable vitality, not visibility, i.e. not sensual reality in its finiteness and randomness and hypocrisy.

We draw attention to the objective grounds of the existence of truth in sensual forms determined by the philosopher: Only a certain circle and a certain degree of truth can be embodied in the form of a work of art. In order for this truth to become a real content of art, it is necessary that adequate transition to the form of sensuality "[5, p. 16; [5, p. sixteen].

This ability is considered as a historical phenomenon, because over time, opinion and reflection have overtaken the sensual and imaginative vision of the world in relation to the contemporary world, Hegel considered it inconceivable for artistic development, because culture has a reflexive character, and the artist, being inside this reflective world and its relationship, not able to abstract from the conditions of modern life tttya.

The dialectical method makes it possible to show the objective necessity of the historical development of art, which arises in Hegel’s system as a necessary stage in the self-development of the absolute spirit. Therefore, art is an object of the necessary degree of self-determination of the spirit, producing itself as a unity of spirit and matter, or as a spirit, personifying itself in material, sensory data the forms of the dialectic of an idea and image, content and form in we are determined by G. Hegel in such a way that art and its works appear as works of the spirit, therefore, they themselves must have a spiritual character, although the artistic image incorporates sensual visibility, Oduha is creative sensual material .

In the introduction, containing a methodology for analyzing the essence of art and tracing the patterns of its historical development, special attention is focused on the concepts of idea , beautiful , ideal , image Contrary to p romantics who denied the possibility of knowing the beautiful Since it is inaccessible to conceptual thinking, Hegel not only distinguishes between beauty in nature and the artistically beautiful, but also shows their interconnections. Beauty appears as a result of the incarnation of spirit in the matter of nature, therefore nature is spiritualized, and the spirit is objectified, a sensually visible reality arises, posed є keenly engaging reality.

The method that allows to know the essence of the beautiful, according to Hegel, is the selection of the subject of research on the ultimate reality . Without denying the beautiful in nature, the philosopher notes its limitations in manifestations due to the lack of internal unfolding in the natural beauty, because it is sensual, material form, does not contain internal differences. Therefore, Hegel notes that an ideal that you cannot know in nature is possible only in art. Therefore, the subject of analysis in Hegel’s aesthetics is artistically beautiful, or ideal. Such a position is close to the vision. And Kant, for the first time, formulated the problem, the naked ones, that the ideal of beauty is possible only in the art of mystery.

The objective, including artistic, formation appears in the aesthetics of Hegel as a necessary condition of self-consciousness by the spirit for objectivity, it is objectified, revealing the degree of its inherent cosmoniousness. Aesthetic attitude reflects an interest in the world in a single, unique existence taking into account its intrinsic value. "The universal need for art arises from the rational desire of a person spiritually vidity internal and external world, presenting it as a subject in which he learns his own I [5, 38] Since the foundation of the perfection of the unfolding of the spirit in sensual forms of art, the philosopher notes a specific way in which the truth exists in art. It acts as an artistically beautiful, or sensual unfolding of an idea, goes to reality and acts in it in direct unity and dei and image. artistically beautiful is the idea of that specific property that it is an individual reality, or else, it is an individual formation of reality, has a specific The common property to manifest itself through the idea "[1, p. 79] The idea as reality has received the form adequate to its concept, there is an ideal. Note: Mr. Hegel stresses the importance of the idea as a formative principle in a beautiful society as a beautiful principle.

The pattern of the development of art in historical development is characterized by the growing dominance of the idea over the image, the ideal over the sensual-material way of its embodiment. The condition for its perfection always creates a free interaction of the ideal and the real, sensual form and spiritual content. Therefore, the content and form in art mutually penetrate, forming a spiritual whole. , moreover, each specific artistic TV world must be internally internally complete, individually unique, concrete goals.

The interaction of ideas and images in art is a historical phenomenon, it has specific development in the development of the spirit of service, deepening the content of the universal and objectifying it in the language of art. art of the East), classical (antique) and romantic (art of the Christian world) everywhere and the content of art is an idea, and its form is a sensual, figurative embodiment [5, p. 75] According to Hegel, There are three types of relations between the ideal and its sensual embodiment in the matter of art. Therefore, the beautiful in my work is a combination of special forms and degrees. The first (initial) form is characterized by the uncertainty of the idea, and therefore does not have that individuality that the ideal requires. Abstractness of the idea determines in its June gu, uncertainty, abstract character of the image. By example of Hegel he brings abstract certainty, borrowed from nature, to characterize a certain universal meaning, say, the Lion immobilizes the power of The first type of relationship between the idea and the image the philosopher characterizes as a symbolic form. At this stage, since there is no harmony of the idea and image, characteristic artistically beautiful, susceptible to characteristics and art, the category sublime arises. no proportionality of the idea (spiritual beginning) and the way it is embodied in art. Here we can see a connection with the interpretation of the content of the sublime in aesthetics and Kant. problems of the sublime in connection with the symbolic type of art G. Hegel also returns, characterizing individual types of art Dal nego Shody okremі vidi mistetstvа Davnyogo Shkhodu.

The second form is the classical one. Its characteristic is the free, adequate embodiment of the idea in the image, which already belongs to it according to its concept [5, p. 83]. According to G. Hegel, it is in this form of art that the complete correspondence of the idea and image exists, determines the completeness of the ideal and makes it possible to contemplate it as achieved. The classical form of art appears as the true personification of beauty. In the classical form of art, there is also unity, when the spiritual is truly internal. The bearer of the idea of spirituality, and not abstract, but individually determined, arises a human image. Kant was the first to formulate the understanding of the ideal of beauty in art in this way. G. Hegel developed and deepened the understanding of the connection between idea and image in classical art. Also perceptible in the influence of Romanticism, he saw in classical art a model of artistic perfection, defined by the ideal of personality of the ancient era. Spirituality fully manifests itself in ancient art in a single human image. The third form of art - romantic art - removes the complete unity of the idea and its reality and again returns, although at a higher level, to the difference and opposition of these sides [5, p. 84] Especially the message of romantic art is the embodiment of the universal - the inner spiritual life in such a way and by such means, it appears as the main material of art. Considering romantic art as the rise of art above itself, G. Hegel notes that it preserves itself as art, is within the sphere of art itself, but moves to a higher level of adequacy - the embodiment of the spirit as spirit itself. At this stage, the subject of art is free concrete spirituality, in the sense of spirituality must appear in the phenomenon to the inner spiritual eye [5, p. 86] However, in reality, the philosopher notes, the idea and the image in romantic art are delimited and appear incommensurate precisely because the idea as spirit and spiritual life must acquire completeness within itself, and therefore does not lend itself to adequate embodiment in the matter of the image. At this stage, the spirit, having realized itself in sensory Forms, objectively moves to the next higher level – religion, and then – to philosophy, and finally – to philosophy.

Within the framework of each of the historical forms of spiritual self-realization in the dialectic of idea and image, Hegel also develops an analysis of the richness of artistic forms through the specificity of art. Arts are considered from the perspective of the genesis of their specific characteristics and the uniqueness of their manifestation, as well as the characteristics of the work of art as an artistic whole and its manifestation.

Hegel's aesthetics is the highest achievement of aesthetic theory. It not only encompasses the achievements of previous stages in the development of aesthetic knowledge, but also contains a holistic history of the artistic development of humanity as a history of the formation of sensory culture, and appears as a necessary stage in humanity's spiritual self-development.

Questions for self-test

1. The title of Kant's work that presents the ideas of aesthetics, and the place of aesthetics in Kant's philosophical system.

2. Analyze the main concepts of aesthetics in Kant: judgments of taste, beauty, the idea of ​​beauty, the ideal of beauty, subjective universality in aesthetics.

3. Determine the grounds on which Kant includes the senses in a holistic system of principles of knowledge.

4 Expand the content of the concept of the aesthetic ability of judgment in aesthetics and Kant.

5. Tell us about the views of F. Schiller on the artistically beautiful, on the purpose of art, on the nature of artistic genius.

6 What is the understanding of the foundations of artistic creativity, the nature of art, the connection of art and nature, the purpose of artistic creativity in the aesthetics of romanticism?

7. Expand the concept of romantic irony , determine its essential aesthetic qualities.

8. Analyze the concept of the absolute in the aesthetic system F. Schelling.

9. The title of the work of Hegel, in which problems of aesthetics are raised.

10 Discover the historical nature of art in the aesthetics of Hegel.

the dialectic of artistic development and its objective grounds