Jakościowe wymiary sztuki w koncepcji Nicolaia Hartmanna

At the beginning of the article, the basic epistemological assumptions, on which Nicolai Hartmann’s Ästhetik is based, are discussed. The author cites main arguments of Kant’s critical epistemology, first of all – allegations against the formal recognition of categories and criticism of description of the relationship between the experience and the object itself. On this basis, Hartmann’s allegations against subjective aesthetics are explained, relating to both creative genius and aesthetic experience. The article also recalls the argumentation indicating the aporethics of empirical descriptions of aesthetic experience. Basing on Hartmann’s ontological assumptions, a mature personality, which enables correct aesthetic experience reception, is characterized. The article approximates the phenomenon of i n v e r s i o n in aesthetic experience, and on this basis, the main argumentation of Hartmann’s Ästhetik is described, which characterizes the inner work of art structure and the way of its recognition. The article is concluded with indication of the limitations of Hartmann’s aesthetic conception and the possibility of its modification, as a result of taking history and sociology of art research into account..