Intuition is an important and complex concept in German idealist aesthetics. Various discussions around this concept are related to such fundamental questions as the reasonableness, meaning, and limitation of modern aesthetics. From his critical standpoint, Immanuel Kant confined intuition to the sphere of sensibility and excluded the higher intuition from aesthetic activities. Thus, the intrinsic value of aesthetics could only be demonstrated in principle. The Post-Kantian idealists continued to expand this subject and gradually turned to the relationship among aesthetics, art and truth, forming a far-reaching aesthetic trend. In this process, Fichte represented a shift from critical idealism to subjective idealism, while Hölderlin, Novalis, F. Schlegel and Schelling opened up a new direction of absolute idealism or objective idealism. Schelling’s arguments on aesthetic intuition regarded art as the only and supreme way to manifest truth, and took artistic philosophy as the pivot of the whole system. This attempt endowed the early German Romanticist religious beliefs about art with a form of systematic philosophy, which later became the driving force behind the continued expansion of aestheticism in the Post-Enlightenment Era.