Friedrich Schiller’s notion of moral virtue includes self-determination through practical rationality as well as sensual self-determination through the pursuit of aesthetic value, i.e., through beauty. This paper surveys conceptual assumptions behind Schiller’s notions of moral and aesthetic perfections that allow him to ground both, moral virtue and beauty on conceptions of freedom. While Schiller’s notions of grace and dignity describe relations between the aesthetic and the moral aspects of certain determining actions, the ‘aesthetic condition’ conceptualises human beings from the perspective (...) of aesthetic self-determinability. Schiller thereby provides a normative aesthetic standard that not only affects the moral nature of our motives and actions, but also of what we, as human beings, want to and should be conceived of in the first place. As I argue in this paper, considering this aesthetic self-determinability from a moral perspective results in an aesthetic constitution of moral virtue, which in turn justifies aesthetic obligations. Schiller thereby merges the perfections of the two normative domains for an extended anthropological conception of aesthetically infused notion of moral virtue while assuring the conceptual autonomy of each normative domain. Giving aesthetic demands a practical normative role by partly constituting moral virtue and thereby still maintain their aesthetic normative source is a move that opens up many resources for current research on the interactions between various normative demands, such as aesthetic reasons for moral or legal judgements and action, aesthetic obligations or weighing varying sources and elements of normative authority and hegemony against each other. (shrink)

This paper examines the iconic conception of aesthetic education in the work of Friedrich Schiller, with the aim of elucidating Schiller’s unique innovation of this notion in understanding i) the relationship between aesthetic and ethical value and ii) the transformative possibilities within a collective, social dimension of aesthetic experience. The paper provides an overview of the Kantian origins of Schiller’s aesthetic programme (Section 1). It then considers Schiller’s critique of the perceived failings of the Kantian and Enlightenment republican models of (...) ethical value and political emancipation (Section 2) before turning to his positive alternative aesthetic programme (Section 3). The paper concludes (Section 4) with some evaluation and reflection on Schiller’s original contributions. (shrink)

ABSTRACTIn this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the...

European Journal of Philosophy, Volume 29, Issue 4, Page 795-810, December 2021.

This article outlines arguments in Schiller's major philosophical works, including his writings on tragedy, "Letters on the Aesthetic Education of Man" and "On Naive and Sentimental Poetry.".

In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection on (...) parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. (shrink)