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of the immediate nature "(ibid.). imperfect is an art because it" ... establishes a correspondence purely external, abstractly symbolic as if the elements contained the universal, absolute. This symbolism is the" ... difference between the outside and the inside, by a lack of ownership between the idea and the form responsible for the mean, therefore, this is not the pure expression of the spiritual An example of art that exemplify this idea are the statues of gods, seeking personificálos as if divinity was actually there.'s an art form in which man's relationship with nature and with God is mediated by distance and fear. A man has difficulty conceptualizing, understanding divinity makes representations he makes God are poor, very close to the elements of nature, the farther from the ideal. The second form is the Classical art. It is "... a free adaptation of form and concept, the idea and the outward manifestation ..." Represents the ideal of art as "... the figure, the natural look, the way that the idea uses must conform, in and for itself, with the concept" Here, shape and form correspond to the concept. Not just a match between content and form, but the idea of the two. Unlike what the symbolism, this art form is denatured the world, "... sensitive, figured, ceases to be natural." The man stops being something completely connected to nature to become conscious of itself. When you are aware what is animal, ceases to be so. This awareness leads us to spiritual participation. We are not merely animals. There are more passive in nature. It is the man that the spirit manifests itself: "... the spiritual, while expressing only the coating is the human form" (ibid.). The spirit there and there at about the human form, which can make the perfect beauty. The human mind is sensitive and it is in human form as the concept develops. Art is the embodiment of spiritual "... just humanizing the (spiritual) art can express the spiritual in order to make it responsive and accessible to intuition, because only incarnate in man the spirit makes us sensitive." But this humanization is not a pure identification with the human being. The spirit does not let absorb, identify with the physical body. The form is spiritual, purified, cleared of ties with the matter, with finitude. So the spirit is not lost in the expression of the human form. This art form, however, is also limited. The manifestation of the Spirit is reduced to the context of art, attached to the matter. Here is the weakness of this second form of art. She is insufficient and fragile. The Spirit is particularized, is not absolute and eternal. Only in the matter he can not express yourself fully, you need the pure spirituality.
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od neposredne prirode "(isto). nesavršena je umjetnost jer" ... uspostavlja dopisivanje čisto vanjski, apstraktno simboličko kao da su elementi sadržani univerzalna, apsolutna. Ova simbolika" ... razlika između vanjske i unutarnje strane, zbog nedostatka vlasništva između ideje i formira odgovorne za srednje vrijednosti, dakle, to nije čista izraz duhovnog primjer umjetnosti koji dokazuju ovu ideju su kipovi bogova, traži personificálos kao ako je božanstvo bilo zapravo tamo. je oblik umjetnosti u kojem čovjekov odnos s prirodom is Bogom posredovan udaljenosti i straha. čovjek ima poteškoća gledanja, razumijevanja božanstvo čini reprezentacije on čini Bog siromašan, vrlo blizu elementima prirode, dalje od idealne. Drugi je oblik klasične umjetnosti. To je "... slobodna adaptacija obliku i koncept, ideja i vanjska manifestacija ..." Predstavlja ideal umjetnosti kao "... na slici, prirodan izgled, način na koji Ideja koristi mora odgovarati, i za sebe, s konceptom" Evo, oblik i oblik odgovaraju konceptu. Ne samo utakmica između sadržaja i forme, ali ideja o dvije. Za razliku od onoga što simbolike, ovaj oblik umjetnosti denaturira svijet, "... osjetljive, shvatio, prestaje biti prirodno." Čovjek prestaje biti nešto sasvim povezani s prirodom da postane svjestan sebe. Kad ste svjesni onoga što je životinja, prestaje biti tako. Ova svijest nas vodi do duhovnog sudjelovanja. Mi smo ne samo životinje. Postoji više pasivni u prirodi. To je čovjek koji je duh manifestira: "... duhovna, izražavajući samo premaz je ljudski oblik" (isto). Duh postoji, a postoji otprilike u ljudskom obliku, što može napraviti savršenu ljepotu. Ljudski um je osjetljiva i to je u ljudskom obliku, kao koncept razvija. Umjetnost je utjelovljenje duhovna "... samo je humanizirati (duhovna) umjetnost može izraziti duhovno kako bi to osjetljiv i dostupna intuiciji, jer samo utjelovio u čovjeku Duh nas čini osjetljivim." (IDEM , str. 158) Ali to humanizacija nije čista identifikacija s ljudskom biću. Duh ne dopustite apsorbiraju, identificiraju sa fizičkim tijelom. Obrazac je duhovna, pročišćena, očišćena od veze sa slučajem, s konačnosti. Dakle, duh nije izgubljen u izražavanju ljudskog oblika. Ovaj oblik umjetnosti, međutim, također je ograničen. Očitovanje Duha je smanjena na kontekstu umjetnosti, u prilogu tom pitanju. Ovdje je slabost ovog drugog oblika umjetnosti. Ona je nedovoljna i krhke. Duh je nabrojan, nije apsolutna i vječna. Samo u tome što ne mogu izraziti sebe u potpunosti, potrebno vam je čista duhovnost.