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 | |  Art, Religion and Philosophy in Hegel's System | |
Hegel's philosophy of art forms part of his overall philosophical system. In order to understand his philosophy of art, therefore, one must understand the main claims of his philosophy as a whole. Hegel argues in his speculative logic that being is to be understood as self-determining reason or “Idea” (Idee). In the philosophy of nature, however, he goes on to show that logic tells only half the story: for such reason is not something abstract—is not a disembodied logos—but takes the form of rationally organized matter. What there is, according to Hegel, is thus not just pure reason but physical, chemical and living matter that obeys rational principles.Life is more explicitly rational than mere physical matter because it is more explicitly self-determining. Life itself becomes more explicitly rational and self-determining when it becomes conscious and self-conscious—that is, life that can imagine, use language, think and exercise freedom. Such self-conscious life Hegel calls “spirit” (Geist). Reason, or the Idea, comes to be fully self-determining and rational, therefore, when it takes the form of self-conscious spirit. This occurs, in Hegel's view, with the emergence of human existence. Human beings, for Hegel, are thus not just accidents of nature; they are reason itself—the reason inherent in nature—that has come to life and come to consciousness of itself. Beyond human beings (or other finite rational beings that might exist on other planets), there is no self-conscious reason in Hegel's universe.In his philosophy of objective spirit Hegel analyses the institutional structures that are required if spirit—that is, humanity—is to be properly free and self-determining. These include the institutions of right, the family, civil society and the state. In the philosophy of absolute spirit Hegel then analyses the different ways in which spirit articulates its ultimate, “absolute” understanding of itself. The highest, most developed and most adequate understanding of spirit is attained by philosophy (the bare bones of whose understanding of the world have just been sketched). Philosophy provides an explicitly rational, conceptual understanding of the nature of reason or the Idea. It explains precisely why reason must take the form of space, time, matter, life and self-conscious spirit.In religion—above all in Christianity—spirit gives expression to the same understanding of reason and of itself as philosophy. In religion, however, the process whereby the Idea becomes self-conscious spirit is represented—in images and metaphors—as the process whereby “God” becomes the “Holy Spirit” dwelling in humanity. Furthermore, this process is one in which we put our faith and trust: it is the object of feeling and belief, rather than conceptual understanding.In Hegel's view, philosophy and religion—which is to say, Hegel's own speculative philosophy and Christianity—both understand the same truth. Religion, however, believes in a representation of the truth, whereas philosophy understands that truth with complete conceptual clarity. It may seem strange that we would need religion, if we have philosophy: surely the latter makes the former redundant. For Hegel, however, humanity cannot live by concepts alone, but also needs to picture, imagine, and have faith in the truth. Indeed, Hegel claims that it is in religion above all that “a nation defines what it considers to be true” (Lectures on the Philosophy of World History, 105).Art, for Hegel, also gives expression to spirit's understanding of itself. It differs from philosophy and religion, however, by expressing spirit's self-understanding not in pure concepts, or in the images of faith, but in and through objects that have been specifically made for this purpose by human beings. Such objects—conjured out of stone, wood, color, sound or words—render the freedom of spirit visible or audible to an audience. In Hegel's view, this sensuous expression of free spirit constitutes beauty. The purpose of art, for Hegel, is thus the creation of beautiful objects in which the true character of freedom is given sensuous expression.The principal aim of art is not, therefore, to imitate nature, to decorate our surroundings, to prompt us to engage in moral or political action, or to shock us out of our complacency. It is to allow us to contemplate and enjoy created images of our own spiritual freedom—images that are beautiful precisely because they give expression to our freedom. Art's purpose, in other words, is to enable us to bring to mind the truth about ourselves, and so to become aware of who we truly are. Art is there not just for art's sake, but for beauty's sake, that is, for the sake of a distinctively sensuous form of human self-expression and self-understanding.4. Kant, Schiller and Hegel on Beauty and FreedomHegel's close association of art with beauty and freedom shows his clear indebtedness to Kant and Schiller. Kant also maintained that our experience of beauty is an experience of freedom. He argued, however, that beauty is not itself an objective property of things. When we judge that a natural object or a work of art is beautiful, on Kant's view, we are indeed making a judgment about an object, but we are asserting that the object has a certain effect on us (and that it should have the same effect on all who view it). The effect produced by the “beautiful” object is to set our understanding and imagination in “free play” with one another, and it is the pleasure generated by this free play that leads us to judge the object to be beautiful (Kant, 98, 102–3).In contrast to Kant, Schiller understands beauty to be a property of the object itself. It is the property, possessed by both living beings and works of art, of appearing to be free when in fact they are not. As Schiller puts it in the “Kallias” letters, beauty is “freedom in appearance, autonomy in appearance” (Schiller, 151). Schiller insists that freedom itself is something “noumenal” (to use Kant's terminology) and so can never actually manifest itself in the realm of the senses. We can never see freedom at work in, or embodied in, the world of space and time. In the case of beautiful objects, therefore—whether they are the products of nature or human imagination—“it is all that matters [ … ] that the object appears as free, not that it really is so” (Schiller, 151).Hegel agrees with Schiller (against Kant) that beauty is an objective property of things. In his view, however, beauty is the direct sensuous manifestation of freedom, not merely the appearance or imitation of freedom. It shows us what freedom actually looks like and sounds like when it gives itself sensuous expression(albeit with varying degrees of idealization). Since true beauty is the direct sensuous expression of the freedom of spirit, it must be produced by free spirit for free spirit, and so cannot be a mere product of nature. Nature is capable of a formal beauty, and life is capable of what Hegel calls “sensuous” beauty (PK, 197), but true beauty is found only in works of art that are freely created by human beings to bring before our minds what it is to be free spirit.Beauty, for Hegel, has certain formal qualities: it is the unity or harmony of different elements in which these elements are not just arranged in a regular, symmetrical pattern but are unifiedorganically. Hegel gives an example of genuinely beautiful form in his discussion of Greek sculpture: the famous Greek profile is beautiful, we are told, because the forehead and the nose flow seamlessly into one another, in contrast to the Roman profile in which there is a much sharper angle between the forehead and nose (Aesthetics, 2: 727–30).Beauty, however, is not just a matter of form; it is also a matter of content. This is one of Hegel's most controversial ideas, and is one that sets him at odds with those modern artists and art-theorists who insist that art can embrace any content we like and, indeed, can dispense with content altogether. As we have seen, the content that Hegel claims is central and indispensable to genuine beauty (and therefore genuine art) is the freedom and richness of spirit. To put it another way, that content is the Idea, or absolute reason, as self-knowing spirit. Since the Idea is pictured in religion as “God,” the content of truly beautiful art is in one respect the divine. Yet, as we have seen above, Hegel argues that the Idea (or “God”) comes to consciousness of itself only in and through finite human beings. The content of beautiful art must thus be the divine in human form or the divine within humanity itself (as well as purely human freedom).Hegel recognizes that art can portray animals, plants and inorganic nature, but he sees it as art's principal task to present divine and human freedom. In both cases, the focus of attention is on thehuman figure in particular. This is because, in Hegel's view, the most appropriate sensuous incarnation of reason and the clearest visible expression of spirit is the human form. Colors and sounds by themselves can certainly communicate a mood, but only the human form actually embodies spirit and reason. Truly beautiful art thus shows us sculpted, painted or poetic images of Greek gods or of Jesus Christ—that is, the divine in human form—or it shows us images of free human life itself. | |
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