Georg Wilhelm Friedrich Hegel
Hegel considered the sublime to be a marker of cultural difference and a characteristic feature of oriental art. His teleological view of history meant that he considered "oriental" cultures as less developed, more autocratic in terms of their political structures and more fearful of divine law. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage god only through "sublated" means. He believed that the excess of intricate detail that is characteristic of Chinese art, or the dazzling metrical patterns characteristic of Islamic art, were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.
Read more about this topic: Sublime (philosophy), 18th Century, German Philosophy
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“We ought, says Kant, to become acquainted with the instrument, before we undertake the work for which it is to be employed; for if the instrument be insufficient, all our trouble will be spent in vain. The plausibility of this suggestion has won for it general assent and admiration.... But the examination can be only carried out by an act of knowledge. To examine this so-called instrument is the same as to know it.”
—Georg Wilhelm Friedrich Hegel (1770–1831)
“It is a matter of perfect indifference where a thing originated; the only question is: “Is it true in and for itself?””
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—Georg Wilhelm Friedrich Hegel (1770–1831)
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—Georg Wilhelm Friedrich Hegel (1770–1831)
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—Georg Wilhelm Friedrich Hegel (1770–1831)
“We do not need to be shoemakers to know if our shoes fit, and just as little have we any need to be professionals to acquire knowledge of matters of universal interest.”
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