||This dissertation explores commonalities as well as differences in the ideas of G.W.F. Hegel and M. Heidegger on art and aesthetics, through a close study and textual analysis of their key texts in this area, notably Hegel's Phenomenology of Spirit and the Lectures on Aesthetics and Heidegger's "The Origin of the Work of Art." The study begins by tracing the reasons that led Hegel to announce the "end" of art, in order to then examine Heidegger's response to this verdict with his own concept of the "origin" of art. To facilitate a "dialogue" between the two philosophers on the nature of art, the dissertation situates Hegel and Heidegger in the context of the history of aesthetics, taking its lead from Heidegger's own reflections on aesthetics. The study has three main findings. First, it establishes a common ground between both philosophers with respect to their understanding of the nature of (great) art, specifically in terms of art's encompassing religious-historical function, whereby Heidegger both adopts and critically transforms Hegel's thesis. Second, it shows that Heidegger's concept of "origin" must be understood as inherently linked to his critique of aesthetics and his account of metaphysics and the forgetting of Being, and is thus also intrinsic to his later notion of Ereignis and the anticipation of the "other beginning." To clarify this position, the concept of truth as aletheia and as "setting-itself-to-work" in the work of art is discussed in detail. Third, based on a reading of several of Heidegger's later texts on art, this dissertation also shows that by thinking the originary and the originative power of art, he is able to recuperate art from an aesthetic framework of production and representation and grant it with enacting a dwelling place for humans.