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page041from Building Ideasunderstanding. This historical method of conceiving and of describing his philosophy produces by implication a philosophical conception of history. In his later writings on this subject, where he specifically addresses this historical issue, he also proposes several other significant new concepts.
Besides the influential notion of the “spirit of the age” (or Zeitgeist) which grew out of his early philosophy, in the Phenomenology of Spirit he also addressed religion and its pivotal role in the development of both architecture and art. In the process of the Spirit’s gradual movement towards self-consciousness, religion is seen as an intermediate stage, beyond the primitive’s blind struggle for physical survival and prior to the “absolute” knowledge of philosophy and science. Within this stage itself he suggests a division of three phases, beginning with “natural religion” and the worship of landscape features such as mountains, trees and springs. The second is the “religion of art” which belongs to a further phase of development, where societies like the ancient Greeks made images of their Gods, as well as expressing their theology through architecture and ritual. The third phase of religion involves a transcending of the physical world and a movement away from the expression of beliefs embodied in works of art. As Spirit comes to understand itself in a much more abstract way, then religion is believed to be contained in the revelations or “Word” of the Gods. As a further stage in history, science and philosophy then take over, the Spirit in Hegel’s system then becomes “transparent” to itself. It now longer needs the support of images to express its understanding, since the tools of abstract thought have taken over in this role. Obviously, in this system the importance of art is reduced, as Hegel claims it is now irrelevant to the course of human progress. He is able to take this “idealist” view by distinguishing between the form of a work of art and its content, or idea, and thereby separating what is symbolized from the medium of its expression. This is a persistent idea in the field of aesthetics, which will come up again in Chapter 2, but which is also important here. By means of this separation Hegel constructs yet another history from within the category of art and based on its various forms. In his lectures on aesthetics given in Berlin in
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