Recently Critique of the Power of Judgment is drawing much attention as the subject matters which aesthetics deals with are extending. In Critique of the Power of Judgment Kant changed Baumgarten's use of Ästhetik. The Woffian school, to which Baumgarten belonged, regarded the difference between the understanding and the sensibility as the difference between degrees of distinctness. So Baumgarten defined Ästhetik to be "logic of lower cognitive power" or "lower epistemology". However, Kant in his critique period denied the difference between the understanding and the sensibility to come from degree of distinctness. He argued the difference to be logical and formal. He thought the understanding to be related to the spontaneity of cognition and the sensibility to the receptivity of cognition. In Critique of the Pure Reason the meaning of Ästhetik is limited to "aesthetics" which can be a true science, and is excluded from the beautiful. In this period Kant thought that a priori laws can not exist in the judgment of taste. In Critique of the Practical Reason the meaning of Ästhetik is not "aesthetics" that deals with sensible intuitions, but "the science of feeling" that deals with Gefühl(feeling). But the feelings of pleasure and displeasure in Critique of the Practical Reason is within the boundary of desire, so it belongs not to the beautiful but to the agreeable according to Critique of the Power of Judgment. In this work, the difference between Ästhetik and ästhetisch is made. The former refers to "aesthetics" of Critique of the Pure Reason, the latter is an adjective limiting "judgment" and refers to judgment related with the feelings of pleasure and displeasure. Thus Kant dissolves the conflicts concerning Ästhetik. The preface of Critique of the Power of Judgment says that the idea of this critique has come from "the systematic affected in human mind". The attention to "taste" is based on "the systematic". Critique of the Power of Judgment makes transitions from nature to freedom, from the agreeable to the good, between the empirical interest and the disinterest of the beauty, through "the reflective judgment". This consists of the most crucial and the most systematic insight. Ultimately these transitions become possible by the dynamic process, which has an relation with the outside and changes the outside into the inside, that's to say, the transition from the heteronomous to the autonomous.