That here, as always, belief or faith is not opposite [pg 168] to consciousness or knowledge, but rather to a sort of knowledge, and that belief is only a particular form of the latter, has been remarked already (§ 63 note). If nowadays there is so little consciousness of God, and his objective essence is so little dwelt upon, while people speak so much more of the subjective side of religion, i.e. of God's indwelling in us, and if that and not the truth as such is called for,—in this there is at least the correct principle that God must be apprehended as spirit in his community.
§ 555. The subjective consciousness of the absolute spirit is essentially and intrinsically a process, the immediate and substantial unity of which is the Belief in the witness of the spirit as the certainty of objective truth. Belief, at once this immediate unity and containing it as a reciprocal dependence of these different terms, has in devotion—the implicit or more explicit act of worship (cultus)—passed over into the process of superseding the contrast till it becomes spiritual liberation, the process of authenticating that first certainty by this intermediation, and of gaining its concrete determination, viz. reconciliation, the actuality of the spirit.
Sub-Section A. Art.
§ 556. As this consciousness of the Absolute first takes shape, its immediacy produces the factor of finitude in Art. On one hand that is, it breaks up into a work of external common existence, into the subject which produces that work, and the subject which contemplates and worships it. But, on the other hand, it is the concrete contemplation and mental picture of implicitly absolute spirit as the Ideal. In this ideal, or the concrete shape born of the subjective spirit, its natural immediacy, which is only a sign of the Idea, is so transfigured by the informing spirit in order to express the Idea, that the figure shows it and it alone:—the shape or form of Beauty.
§ 557. The sensuous externality attaching to the beautiful,—the form of immediacy as such,—at the same time qualifies what it embodies: and the God (of art) has with his spirituality at the same time the stamp upon him of a natural medium or natural phase of existence—He contains the so-called unity of nature and spirit—i.e. the immediate unity in sensuously intuitional form—hence not the spiritual unity, in which the natural would be put only as “ideal,” as superseded in spirit, and the spiritual content would be only in self-relation. It is not the absolute spirit which enters this consciousness. On the subjective side the community has of course an [pg 170] ethical life, aware, as it is, of the spirituality of its essence: and its self-consciousness and actuality are in it elevated to substantial liberty. But with the stigma of immediacy upon it, the subject's liberty is only a manner of life, without the infinite self-reflection and the subjective inwardness of conscience. These considerations govern in their further developments the devotion and the worship in the religion of fine art.
§ 558. For the objects of contemplation it has to produce, Art requires not only an external given material—(under which are also included subjective images and ideas), but—for the expression of spiritual truth—must use the given forms of nature with a significance which art must divine and possess (cf. § [411]). Of all such forms the human is the highest and the true, because only in it can the spirit have its corporeity and thus its visible expression.
This disposes of the principle of the imitation of nature in art: a point on which it is impossible to come to an understanding while a distinction is left thus abstract,—in other words, so long as the natural is only taken in its externality, not as the “characteristic” meaningful nature-form which is significant of spirit.
§ 559. In such single shapes the “absolute” mind cannot be made explicit: in and to art therefore the spirit is a limited natural spirit whose implicit universality, when steps are taken to specify its fullness in detail, breaks up into an indeterminate polytheism. With the essential restrictedness of its content, Beauty in general goes no further than a penetration of the vision or image by the spiritual principle,—something formal, so that the thought embodied, or the idea, can, like the material which it uses to work in, be of the most diverse and unessential kind, and still the work be something beautiful and a work of art.