Özet:

The Criticism of Judgment is the third fundamental work of Kant’s critical philosophy. Kant reports that this work is recognised as a complementary to its critical philosophy. This expression of completion constitutes the possibility of the transition between the theoretical and practical fields of philosophy. It is not possible to move from the theoretical field, from the nature field, to the practical field, to the freedom. On the other hand, the principles in the field of freedom must be made active in nature. Kant has unveiled a system in which art is defined as the bridge of the transition from the field of freedom to nature. According to this system, deha is the ability to regulate the art through nature, and Kant defines in one of his definitions of "beauty" in the Criticism of the Judgment as the transfer of aesthetic idols through the beautiful deha. This transmission occurs through the judgments of the pleasure born as a result of the free game of understanding and imagination. In this study, I aim to expand the imagination unlimited by the ability to understand, and to reveal how the desire to reach the idols of the mind is displayed by the deha through the visual art as a [free] aesthetic idols. In order to clearly reveal this exhibition in its entirety, I will try to reveal the meaning of the transition from the practical field of philosophy to the theoretical field – which is the element of Kant. In this direction, I will stand on the nature of the judgments of favour, the nature-art relationship, the classification of beautiful arts, the role of the devil in the appearance of aesthetic idols.

Özet:

Critique of the Power of Judgment is the third work of Kant’s critical philosophy. Kant states that he has put this work on paper to complement his critical philosophy. This statement of completion constitutes the transition that is required between the theoretical and practical areas of philosophy. According to Kant, transition from the theortical area, or natural area to the practical area, or the area of freedom is not possible. Moreover,  principals in the area of freedom need to be realised in the area of nature. Kant has presented a system that establishes art as the bridge from the area of freedom to the area of nature. With regard to this system, genius is the skill that provides the rules for art through nature and as one definition of beautiful in Critique of the Power of Judgment, Kant identifies beautiful as the transition of aesthetical ideas thorough genius. This transition occurs as a result of the judgment of taste by means of the free play of imagination and understanding. My aim in this study is to clarify how imagination that is not limited by understanding widens up and is presented as [non-conceptional] aestethical ideas through art. In order to put forth this representation with all its clarity, I will try to elucidate the meaning of the transition from the practical area of philosophy to its theoretical area, which is crucial according to Kant. In this contect, I wil emphasize the nature of judgments of taste, relation of nature-art, classification of fine arts, and the role of genius in emerging aestethical ideas

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