Hegel’s Lectures on Aesthetics

Table of Contents

Source: Selections from Hegel's Lectures on Aesthetics, by Bernard Bosanquet & W.M. Bryant, The Journal of Speculative Philosophy, 1886;
See also Aesthetics: Lectures on Fine Art, translated by T M Knox


Development of the Ideal in the Special Forms Of Art

Of the Symbolic Form of Art

1. The Symbol is a sensuous object
2. The Symbol as a special Form of Art


1. The point of departure
2. The termination of this epoch

Of the Ideal of Classic Art

I. The Classic Ideal

1. The ideal as free creation of the imagination of the artist

a. They borrow their ideas from the human heart
b. All foreign elements are cast out
c. Acknowledging the presence of the Gods, and signaling what is remarkable in natural events

2. The new gods of Classic Art

a. Concentrated individuality
b. The external and corporeal form
c. Their universal and absolute character

3. External character of the representation

Of the Romantic Form of Art

Introduction — of the Romantic in General

II. The Circle of Objects Conditioned by Romantic Art

1. First point of departure
2. Spiritual reconciliation as a movement of the spirit
3. Spirit has its representative in man

III. The relation of the content to the mode of its representation

1. The material of Romantic Art
2. The content is already at hand for itself in imagination and sensuous perception
3. Romantic Art no longer has for its aim the free vitality of actual existence


1. The Religious as such
2. The Secular world
3. The Formal Independence of Character

1. Spiritual being has attained a shape adequate to the conception of spirit
2. The beautiful in art is the Idea as developed into concrete form fit for reality
3. The different relations of content and shape

a. The Beginning of Art
b. The Classical Form of Art
c. The Romantic Form of Art

4. How these principles pass into Actual Existence

a. Architecture
b. Sculpture
c. The totality of Arts

(1) Painting
(2) Music
(3) Poetry

5. The Idea of Beauty

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