Aesthetic Philosophy

Schelling made use of Kant’s philosophy of organic nature in his philosophy of nature such that the organism produces itself through mutual interaction between the whole and its parts so that the organism itself is viewed as self-purposive (the growth in an organism is understood as teleological).
In aesthetic philosophy, Schelling also employs Kant’s Theory of Beauty. Art is the third of the higher order in such a way that, in art the opposition between Theoretical and Practical action is eliminated, i.e., that in art, the opposition between Subjectivity and Objectivity is sublimated, where knowledge and action, conscious action and unconscious action, freedom and necessity, are all harmonized. The ultimate problem of Transcendental Philosophy concerns genuine identity of the real and the ideal.
Since in the case of Beauty, the infinite is expressed in the finite, the Aesthetic creation reveals in sensory phenomena, the solution of the philosophical problem of the identity of the real and the ideal is evident in aesthetic creative activities and the products of their creative activities. In this sense, art is the genuine organon of philosophy and its “document.” Art reveals the most sacred of reality to philosophy. Schelling contends that Poetry and Philosophy, therefore, resemble each other most. The artist’s aesthetic intuition and the philosopher’s intellectual intuition resemble each other most. In ancient myths, they were indeed one and the same. In the near future, such a period should come in which once again aesthetic intuition and philosophical intellectual intuition is unified. Schelling’s philosophy is most unique in his treatment of Aesthetic Philosophy in his transcendental idealism.
Thus, while they call Fichte’s transcendental idealism as ethical idealism, Schelling’s transcendental idealism is characterized as aesthetic idealism, and Hegel’s philosophy as logical idealism, although these characterizations are rather oversimplified.

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