The Philosophy of Art (Theory and History of Literature)
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The philosophy of art an oration on the relation between the plastic arts and nature. This book, "The philosophy of art", by F.W. Joseph von Schelling, A. Johnson, is a replication of a book originally published before 1845. It has been restored by human beings, page by page, so that you may enjoy it in a form as close to the original as possible.
absoluteness, the same relationship asserts its rights and recurs in the final potence. This is the relationship between philosophy and art. The ultimate, albeit completely absolute, and perfect informing into unity of the real and the ideal is itself related to philosophy as the real to the ideal. In the latter the final contradiction of knowledge resolves itself into pure identity, and nonetheless it too, in its antithesis to art, always remains only ideal. Hence, both encounter one another on
discussion of each individual form of art. Since, however, we consider this antithesis to be a merely formal one, its construction necessarily consists in negation or suspension. By considering this INTRODUCTION 19 antithesis, we will simultaneously present the historical dimension of art; only by this means can we hope to bring our construction in the larger sense to its final completion. According to my entire understanding here, art is itself an emanation of the absolute. The history of
be does not deserve this name.)2 §64. Explication. The real side of genius, or that unity that constitutes the informing of the infinite into the finite, can be called poesy in the narrower sense; the ideal side, or that unity that constitutes the informing of the finite into the infinite, can be called the art within art. Elucidation. By poesy in the narrower sense—if we stay close to the original meaning of the word—we understand the immediate or direct production or creation of something real,
general = artistic impulse in human beings, and just as the guide of instinct is the ethical element, so also of language. Both assertions—that it arises as an invention of human beings, through freedom, and by divine instruction —are false.] An exposition of the particular model of reason and reflection within the structure and inner conditions of language belongs to a different sphere of science than the one with which we are here concerned and in which language itself functions merely as a
element, and both are essentially one and the same. The absolute, insofar as it manifests itself in the phenomenal world through the first of the two unities, is the essence of matter; all art, insofar as it takes the same unity as its form, is plastic or formative art. Within such art, just as within matter itself, all unities are encompassed and express themselves through the particular art forms. The first of these, which takes the informing of unity into multiplicity as its form in order to