本文旨在闡明黑格爾美學與謝林美學的差別，以及現代藝術哲學的起源。前言，為本文動機。第二部分，指出耶拿時期乃黑格爾構思藝術哲學的起點，後者完整展現於晚期主要著作：《美學課程》。第三部分，標出《美學課程》的美學意圖。第四部分，分析謝林藝術哲學內涵。第五部分，評述謝林美學受限於哲學的問題。第六部分，探討黑格爾解決謝林美學困境的方式。最後，歸納出《美學課程》最具創造性之處，便是以浪漫主義繪畫為思考點，統合形而上思想、藝術形式、藝術語言學、歷史演化等不同思維，創造出非常特殊的藝術哲學，催動了歐洲美學的轉向：以藝術論述取代以往包姆加登和康德的美感分析。當然，建構歷史-系統之思辨藝術理論，乃至為一種哲學的藝術分析做辯護，並不是黑格爾的原創，已見於耶拿浪漫主義者。因此，如果黑格爾藝術哲學遠超過相同意圖的謝林，那是由他實際完成後者的理想：完整實踐出一個科學的藝術學。

This paper discusses the differences between Hegel's and Schelling's aesthetics, and the origin of modern philosophy of art. The introduction states the motivation of this paper. The second part points out that Hegel began to form his philosophy from the romanticism of Jena. His philosphy of art was fully presented in his later work: Aesthetics. The third part of the paper indicates the aesthetical intention in Aesthetics. The fourth part analyzes Schelling's philosophy of art. The fifth part discusses, from a critical angle, the bottleneck of Aesthestics deriving from the restriction of its philosophical origin. The sixth part investigates how Hegel resolved the problems in Schelling's aesthetics. This paper concludes that the most innovative point of Aesthetics lies in its viewpoint on the paintings of romanticism, coupled with the thought of metaphysics, art form, art linguistics, and historical evolution. All these aspects contributed to the special characteristics of Hegel's philosophy of art and motivated the directional changes in European aesthetics: replacing the analysis of beauty proposed by Baumgarten and Kant with analysis of art. Of course, the idea of constructing historical-systematic speculative theory of art so as to defend the philosophy of art analysis originated from those romanticists of Jena, rather than Hegel. Therefore, if we think that Hegel's philosophy of art is superior to Schelling's, which shared similar intension with the former, that is because Hegel realized the idea of the latter: to put scientific aesthetics into practice.