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On the Basis of Georg Simmel’s Philosophy of Art

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2009, 29(), pp.175-201
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : June 30, 2009

Joosik Min 1

1영남대학교

Accredited

ABSTRACT

The task of this paper is firstly to examine the formation of Simmel’s philosophy of art, secondly to inquire his critical thinking on the contemporary art circumstances, and thirdly to consider the outcome of his art philosophical study connected with modernity or modern life. Georg Simmel has been known to Korean academic world mainly as a sociologist. His broad scope of philosophical thinking was hardly noticed. However, in present Europe and America, the study on Simmel’s philosophy of art is especially extending. The influence and the significance of Simmel’s philosophy is very important in these days. His philosophy relieved from German conceptualism and hold abundant artistic sensibility. His writings on Goethe and Rembrandt was evaluated as useful devices for German Gymnasium education. Although his period has become a distant past, the critical mind on the modern way of life could be sympathized with us. He is belong to the school of Lebensphilosophie together with Nietzsche, Bergson and Ortega y Gasset. He opposed to rationalism, intellectualism and Kantianism. Some peculiarities of his philosophy can be enumerated as following. Firstly, the noble and refined liveliness with urban atmosphere. Secondly, the uncomparable uniqueness and subtlety of his viewpoint. Thirdly, the moving power of increasing curiosity. His concern on artistic culture was broadly crossing on various genre of art such as music, painting, sculpture and literature. There is a linkage between his artistic acquirement and Lebensphilosophie. And also there is a sociological viewpoint. Simmel has aspired to study various problems of artistic world from early days to his later. He was inclined to psychological and ethnological researches at the beginning, and afterward moved to philosophical one. And he aimed to accomplish his own philosophy of art at his later years. Unfortunately, he cannot succeed on the accomplishment owing to the outbreak of the Second World War. As we can know from his continuing writings, he retained a wide-ranging artistic knowledge comprising not only Western art but also Chinese and Japanese arts. His plan to write his Philosophy of Art must be a magnificent scale including the exceptional problems which could not be accepted by his contemporary European aesthetics. And we should not fail to notice his sociological viewpoint to manage the individual and the society in his philosophy of art.

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