'Fine art' is a living phenomenon determined by the purposiveness of nature. 'Fine art' [schöne Kunst] contains a determination that arranges itself in accordance with the purposiveness of nature in Immanuel Kant's (1724-1804) philosophy.... more
'Fine art' is a living phenomenon determined by the purposiveness of nature. 'Fine art' [schöne Kunst] contains a determination that arranges itself in accordance with the purposiveness of nature in Immanuel Kant's (1724-1804) philosophy. This implies that 'fine art' is a living phenomenon, having a life of its own beyond its initial creation. In the Critique of Judgement 1790, Kant states that our aesthetic appreciation lies in the faculty of reflective judgment. What Kant incorporates into the third critique is that reflective judgment allows for the creation of new meaning in the face of the beautiful, the sublime, and 'fine art'. This paper will start by examining how Kant had previously set up the regulative ideal in his architectonic system which runs throughout his late philosophy. The purpose of this paper will be to show how Kant brings about a genuine unity between freedom and nature. This unity allows for the requisites for 'fine art' to synthesis with the purposiveness of nature. Kant extends this regulative in the third critique to show how judgment allows for new concepts that were previously unconceived by the understanding. In analysis of the requisites for 'fine art', we will discover how rules of reason harmonise and evolve through genius to originality.
