La metafísica de les belles arts
- Idioma:
- anglès
- Completesa:
- Obra completa
- Autoria:
- Escrita per l'autor
- Estat del text:
- Sense soroll d'escaneig detectat (mesura automàtica sobre tot el text, no revisada a mà)
- Extensió:
- ~4.210 paraules · 20 passatges
Cita aquesta obra
- APAArthur Schopenhauer. (n.d.). The Metaphysics of Fine Art [La metafísica de les belles arts]. Digital reproduction: SigPhi. https://sigphiai.com/ca/works/schopenhauer/the-metaphysics-of-fine-art
- MLAArthur Schopenhauer. The Metaphysics of Fine Art [La metafísica de les belles arts]. Digital reproduction, SigPhi, https://sigphiai.com/ca/works/schopenhauer/the-metaphysics-of-fine-art.
- ChicagoArthur Schopenhauer. The Metaphysics of Fine Art [La metafísica de les belles arts]. Digital reproduction, SigPhi. https://sigphiai.com/ca/works/schopenhauer/the-metaphysics-of-fine-art.
Referència de l’edició reproduïda. SigPhi és la reproducció digital, no l’editor. S’hi inclouen l’any, l’editorial i el traductor quan consten; «n.d.» indica que no consta l’any. La responsabilitat d’un pròleg o d’una nota es determina segons el passatge citat.
De què tracta
Text breu sobre l'art com a coneixement de les Idees i com a suspensió momentània de la voluntat.
Context i història
Per a Schopenhauer l'art no és un adorn: és l'única treva que hi ha en un món de desig, i la música n'és el cas extrem perquè no representa Idees sinó la voluntat mateixa. Curt, i és una bona porta d'entrada a la seva estètica. Aquesta és una traducció anglesa antiga, en domini públic. L'original alemany també hi és al catàleg, i és el que s'ha de citar.
Context editorial, no una font citable: a diferència dels passatges de l'obra, aquestes dades no es poden contrastar amb el corpus.
Therein lies the difficulty, and this is just why the condition of mind necessary in artistic creation is so rare; because all our thoughts and endeavours, our powers of sight and hearing, are always naturally exerted, directly or indirectly, in the service of our numerous personal aims, great and small. It is the will that drives the intellect to the fulfilment of its function, and the intellect flags at once if the spur is withdrawn. Rendered active in this way, the intellect is perfectly sufficient for the needs of practical life, nay, even for the kind of knowledge required in professional business. For there the aim is to understand only the relations of things, not the inner reality peculiar to them; and this kind of knowledge proceeds by applying such principles of reasoning as govern the relations in which things may stand to one another. But though in the conception of a work of art the intellect is all in all, in the execution of it, where the aim is to communicate and represent what has been conceived, the will may, nay, must become active again; just because there is an aim to be carried out. Accordingly, in this sphere, the principles of reasoning which govern the relations of things again come into play. It is in conformity with these principles that the means used by Art are so contrived as to produce artistic effects. Thus we find the painter concerned with the accuracy of his drawing and the manipulation of his colours, and the poet looking first to the arrangement of his subject and then to a right use of expression and the laws of metre.