Abstract

The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics.