|Art: according to the traditional conception, art is a social sphere that is not directly focused on the maintenance of life functions. For this reason it opens up a certain freedom and possibility of knowledge. In the modern age, the idea of the evading of art has evolved in the face of a widespread through-organization of more and more areas of life. This development can lead to an ever-barred understanding ("hermetics"). See also aesthetics, works of art, critique, society, history, enlightenment, recognition._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. |
Immanuel Kant on Art - Dictionary of Arguments
Gadamer I 52
Art/Beauty/Kant/Gadamer: Judging according to an ideal of beauty is (...), as Kant says, not merely a judgment of taste.
Gadamer I 53
(...) to be pleasing as a work of art, something must be more than just tasteful and pleasing at the same time.
Note: GadamerVsAdorno/GadamerVsJauß: Unfortunately, the Kantian analysis of taste judgement is still being misused for art theory, even by T. W. Adorno's Aesthetic Theory( (Schriften Band 7, S. 22ff.) or by H. R. Jauss (Ästhetische Erfahrung und literarische Hermeneutik. Frankfurt 1982, S. 29f.).
When just now actual beauty seemed to exclude any fixation by concepts of purpose (>Beauty/Kant), then here, conversely, even a beautiful house, a beautiful tree, a beautiful garden, etc. is said to have no ideal, "because these purposes are not sufficiently defined and fixed by their concept, consequently the usefulness is almost as free as with vague beauty".
Only of the human form, precisely because it alone is capable of a beauty fixed by a concept of purpose, is there an ideal of beauty! This doctrine, established by Winckelmann and Lessing(1), gains a kind of key position in Kant's foundation of aesthetics.
For it is precisely this thesis that shows how little a formal aesthetic of taste (arabesque aesthetics) corresponds to the Kantian idea. >Beauty/Kant.
Gadamer I 55
Kant/Gadamer: It is precisely with this classicist distinction between the normal idea and the ideal of beauty that Kant destroys the basis from which the aesthetic of perfection finds its incomparably unique beauty in the perfect meaningfulness of all being. Only now can "art" become an autonomous phenomenon. Its task is no longer the representation of the ideals of nature - but the self-encounter of man in nature and the human-historical world. Kant's proof that the beautiful is pleasing without concept does not prevent us from being fully interested only in the beautiful that appeals to us in a meaningful way. It is precisely the recognition of the concept-lessness ["Begrifflosigkeit"] of taste that leads beyond the aesthetics of mere taste.(2) >Art/Hegel, >Interest/Art/Kant, >Artwork/Kant, >Nature/Kant.
Gadamer I 58
Def Art/Kant/Gadamer: Kant's definition of art as the "beautiful idea of a thing" takes this into account, insofar as even the ugly is beautiful in the representation by art.
GadamerVsKant: Nevertheless, the true essence of art comes out badly in its contrast to the beauty of nature. If the concept of a thing were only represented beautifully, then this would again only be a matter of a "school-suitable" representation and would only fulfil the indispensable condition of all beauty.
KantVsVs: Art, especially according to Kant, is more than a "beautiful representation of a thing"; it is a representation of aesthetic ideas, i.e. of something that is beyond all concept. The concept of genius wants to formulate this insight of Kant. >Genius/Kant.
1. Lessing, Entwürfe zum Laokoon Nr. 20 b; in Lessings Sämtl. Schriften ed. Lach-
mann, 1886ff., Bd. 14, S. 415.
2. Kant explicitly says that "the judgement according to an ideal of beauty is not a
is merely the judgement of taste".(K. d. U. S. 61). Vgl. dazu meinen Aufsatz Gadamer, Die Stellung
der Poesie im Hegel'schen System der Künste( Hegel-Studien 21, (1986)._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
I Günter Schulte Kant Einführung (Campus) Frankfurt 1994
Externe Quellen. ZEIT-Artikel 11/02 (Ludger Heidbrink über Rawls)
Volker Gerhard "Die Frucht der Freiheit" Plädoyer für die Stammzellforschung ZEIT 27.11.03
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010
H. G. Gadamer
The Relevance of the Beautiful, London 1986
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977