SUBSECTION II
SCULPTURE
INTRODUCTION
Over against the inorganic nature of Spirit, in the form we find given it by art in architecture, Spirit opposes itself directly in the sense that the work of art receives and displays spirituality as its actual content. The necessity of this advance we have already adverted to. It underlies the notion of Mind, which differentiates itself under the twofold aspect of subjective self-substantive[111] existence and pure objectivity. In this latter form of externality the ideal substance, it is true, makes its appearance by virtue of the architectonic treatment; such, however, does not amount to a complete transfusion of the objective material, or a conversion of it into an entirely adequate expression of Spirit (Mind), such as suffers it, and only it, to appear. Consequently art withdraws itself from the inorganic realm, which architecture, under its yoke of the laws of gravity, has striven to bring nearer as a means of Spirit's expression, to that of the Ideal, which forthwith then independently asserts itself in its more lofty truth without this intermingling with what is inorganic. It is during this, return passage of Spirit to its own native realm[112] from out of the world of masses and material substance that we come across sculpture.
The first stage, however, in this new sphere is, as yet, no withdrawal of mind into the completely ideal world of subjective consciousness[113], so that the representation of what is of Spirit would require what is itself a purely ideal mode of expression. Rather Spirit grasps itself, in the first instance, only in so far as it is still expressed in bodily shape, and therein possesses its homogeneous and determinate existence. The art which accepts for its content this attitude to the possessions of Spirit will consequently have, as its due function, to clothe spiritual individuality as a manifestation under material conditions, and we may add, in what is actually material to the senses. For discourse and speech are also indications[114] which Spirit assumes under the form of externality, but they belong to a mode of objectivity, which, instead of possessing the attributes we attach to matter in its immediate and concrete sense, is merely as tone, motion, the undulation of an entire body and the rarified element, the atmosphere, a communication of such Spirit. What I call immediate corporeality, on the contrary, is the spatial mode of material substance such as stone, wood, metal, or clay, wholly spatial in all three dimensions. The form, however, which is adequate to Spirit is, as we have already seen, the unique bodily form which belongs to it; and it is through this that sculpture makes what is of Spirit actual in a whole which is subject to the spatial condition.
From this point of view sculpture stands on the same plane as architecture[115] to the extent, namely, that it gives form to the sensuous material as such, or what is material according its spatial condition as matter. It is, however, to a like extent distinguishable from architecture by virtue of the fact that it does not work up the inorganic substance, as the opposite of Spirit, into an environment created by Spirit and endowed with its purpose in forms to which a purpose is attached which is exterior to it; rather it sets before us spirituality itself in the bodily shape which, from the standpoint of the notion, is adequate to Spirit and its individuality. In other words its efficient function and independent self-subsistency brings indivisibly before our sight both aspects, body and spirit, as one whole. The configuration of sculpture, therefore, breaks away from the specific function of architecture, which is to serve Spirit merely as an external Nature and environment, and assumes a really independent position. Despite, however, this separation the image of sculpture remains in essential relation to its environment. A statue or group, and yet more a relief, cannot be made without considering the place in which such a work of art is to be situated. One ought not first to complete a work of sculpture and then consider where it is likely to be put, but it should in the very conception of it be associated with a definite exterior world, and its spatial form and local position. In this respect sculpture retains a specific relation to the architectural aspect of space. For the primary object of statues is that of being temple images and being set up in the shrine of the sanctuary, just as in Christian churches painting supplies images for the altar, and Gothic architecture also attests a similar connection between works of sculpture and their local position. Temples and churches, however, are not the only place for statues, groups of statuary and reliefs. In a similar way halls, staircases, gardens, public squares, doors, single columns and arches of triumph receive an animation from the forms of sculpture; and every statue, even though placed in dissociation from such a wider environment, requires a pedestal of its own to mark its local position and base. And here we must conclude what we have to say as to the association of sculpture with or distinction from architecture.
If we further compare sculpture with the other arts we shall find that it is more especially poetry and painting which will engage our attention. Small statues no less than groups present to us the spiritual form in complete bodily shape, man, in short, as he exists. Sculpture therefore appears to possess the truest means of representing what is spiritual, whereas both painting and poetry have the contrary appearance of being more remote from Nature for the reason that painting makes use of the mere surface instead of the sensuous totality of the spatial condition, which a human form and all other natural things actually assume; speech, too, to a still less degree, expresses the reality of body, being merely able to transmit ideas of the same by means of tone.
However, the truth of the matter is precisely the reverse of this. For although the image of sculpture appears no doubt to possess from the start the natural form as it stands, it is just this externality of body and nature reproduced in gross material which is not the nature of Spirit as such. If we regard the essential character of it its peculiar existence is that expressed by means of speech, acts, and affairs which develop its ideal or soul-life, and disclose its true existence.