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The majority of the contemporary literature on Schelling and Heidegger focuses on the direct connection between the two philosophers – Heidegger’s engagement with Schelling’s  Freedom  essay. This paper, however, explores an implicit link between them on the topic of creation by reading Schelling’s  Ages of the World  alongside Heidegger’s ‘The Origin of the Work of Art’. It brings God’s creation in Schelling together with artistic creation in Heidegger and argues that the two have similarities in their structures, sources, and aims: both creations are dependent on a two-fold struggle, the sources are either the absolute (in Schelling) or being (in Heidegger), and the aims are to reveal the divine principle (in Schelling) or the truth of being (in Heidegger) in the world. In making these comparisons, I argue that, in spite of Heidegger’s esoteric neologisms, his account of artistic creation is not as radically new as he himself claims. It can be read and better comprehended in the light of a Schellingian metaphysics of creation and, more broadly, in the light of the history of philosophy in general. Eventually, Heidegger’s philosophy remains committed to the tradition of philosophical theology, despite his own attempt to move beyond this tradition.

The affinity between artistic creation in Heidegger and divine creation in Schelling