§ 560. The one-sidedness of immediacy on the part of the Ideal involves the opposite one-sidedness (§ 556) that it is something made by the artist. The subject or agent is the mere technical activity: and the work of art is only then an expression of the God, when there is no sign of subjective particularity in it, and the net power of the indwelling spirit is conceived and born into the world, without admixture and unspotted from its contingency. But as liberty only goes as far as there is thought, the action inspired with the fullness of this indwelling power, the artist's enthusiasm, is like a foreign force under which he is bound and passive; the artistic production has on its part the form of natural immediacy, it belongs to the genius or particular endowment of the artist,—and is at the same time a labour concerned with technical cleverness and mechanical externalities. The work of art therefore is just as much a work due to free option, and the artist is the master of the God.

§ 561. In work so inspired the reconciliation appears so obvious in its initial stage that it is without more ado accomplished in the subjective self-consciousness, which is thus self-confident and of good cheer, without the depth and without the sense of its antithesis to the absolute essence. On the further side of the perfection (which is reached in such reconciliation, in the beauty of classical art) lies the art of sublimity,—symbolic art, in which the figuration suitable to the Idea is not yet found, and the thought as going forth and wrestling with the figure is exhibited as a negative attitude to it, and yet all the while toiling to work itself into it. The meaning or theme thus shows it has not yet reached the infinite form, is not yet known, not yet conscious of itself, as free spirit. The artist's theme only is as the abstract God of pure thought, or an effort towards him,—a restless and unappeased effort which [pg 172] throws itself into shape after shape as it vainly tries to find its goal.

§ 562. In another way the Idea and the sensuous figure it appears in are incompatible; and that is where the infinite form, subjectivity, is not as in the first extreme a mere superficial personality, but its inmost depth, and God is known not as only seeking his form or satisfying himself in an external form, but as only finding himself in himself, and thus giving himself his adequate figure in the spiritual world alone. Romantic art gives up the task of showing him as such in external form and by means of beauty: it presents him as only condescending to appearance, and the divine as the heart of hearts in an externality from which it always disengages itself. Thus the external can here appear as contingent towards its significance.

The Philosophy of Religion has to discover the logical necessity in the progress by which the Being, known as the Absolute, assumes fuller and firmer features; it has to note to what particular feature the kind of cultus corresponds,—and then to see how the secular self-consciousness, the consciousness of what is the supreme vocation of man,—in short how the nature of a nation's moral life, the principle of its law, of its actual liberty, and of its constitution, as well as of its art and science, corresponds to the principle which constitutes the substance of a religion. That all these elements of a nation's actuality constitute one systematic totality, that one spirit creates and informs them, is a truth on which follows the further truth that the history of religions coincides with the world-history.

As regards the close connexion of art with the various religions it may be specially noted that beautiful art can only belong to those religions in which the spiritual principle, though concrete and intrinsically free, is not [pg 173] yet absolute. In religions where the Idea has not yet been revealed and known in its free character, though the craving for art is felt in order to bring in imaginative visibility to consciousness the idea of the supreme being, and though art is the sole organ in which the abstract and radically indistinct content,—a mixture from natural and spiritual sources,—can try to bring itself to consciousness;—still this art is defective; its form is defective because its subject-matter and theme is so,—for the defect in subject-matter comes from the form not being immanent in it. The representations of this symbolic art keep a certain tastelessness and stolidity—for the principle it embodies is itself stolid and dull, and hence has not the power freely to transmute the external to significance and shape. Beautiful art, on the contrary, has for its condition the self-consciousness of the free spirit,—the consciousness that compared with it the natural and sensuous has no standing of its own: it makes the natural wholly into the mere expression of spirit, which is thus the inner form that gives utterance to itself alone.

But with a further and deeper study, we see that the advent of art, in a religion still in the bonds of sensuous externality, shows that such religion is on the decline. At the very time it seems to give religion the supreme glorification, expression and brilliancy, it has lifted the religion away over its limitation. In the sublime divinity to which the work of art succeeds in giving expression the artistic genius and the spectator find themselves at home, with their personal sense and feeling, satisfied and liberated: to them the vision and the consciousness of free spirit has been vouchsafed and attained. Beautiful art, from its side, has thus performed the same service as philosophy: it has purified the spirit from its thraldom. The older religion in which the [pg 174] need of fine art, and just for that reason, is first generated, looks up in its principle to an other-world which is sensuous and unmeaning: the images adored by its devotees are hideous idols regarded as wonder-working talismans, which point to the unspiritual objectivity of that other world,—and bones perform a similar or even a better service than such images. But even fine art is only a grade of liberation, not the supreme liberation itself.—The genuine objectivity, which is only in the medium of thought,—the medium in which alone the pure spirit is for the spirit, and where the liberation is accompanied with reverence,—is still absent in the sensuous beauty of the work of art, still more in that external, unbeautiful sensuousness.

§ 563. Beautiful Art, like the religion peculiar to it, has its future in true religion. The restricted value of the Idea passes utterly and naturally into the universality identical with the infinite form;—the vision in which consciousness has to depend upon the senses passes into a self-mediating knowledge, into an existence which is itself knowledge,—into revelation. Thus the principle which gives the Idea its content is that it embody free intelligence, and as “absolute” spirit it is for the spirit.