Abstract

The subject of the study is the relationship between aesthetics and metaphysics, as it is drawn in Kant's transcendentalism. In the Critique of the Faculty of Judgment, Kant generally believes that the idea of perfection does not correlate with the idea of a sense of pleasure, and in the first introduction to the Critique of the Faculty of Judgment, he is far from considering the ways of solving the problems of the relationship between perfection and the aesthetic sense of pleasure convincing. But the attitude to perfection changes in Kant's later works, the analysis of which shows that the idea of perfection, in fact, is conceived as a way of founding the whole of aesthetics, its initial category – the beautiful, the meaning of which coincides with the expression of aesthetic perfection if it is genuine beauty. The metaphysics of perfection contained in the analyzed works of Kant encourages a new look at the categorical apparatus of Kant's aesthetics, formed in the "Critique of the Faculty of Judgment", to expand the idea of Kant's aesthetics as part of transcendental metaphysics. The concept of perfection expresses various aspects of metaphysical research, while preserving its immanent qualities in aesthetics. In predication as an act of modern aesthetic utterance, it is difficult to identify any stages and structures that can be specifically associated with perfectionism. The question of the field of such connections is quite controversial, including in modern Russian philosophy.