Hegel considered the sublime to be a marker of cultural difference and a characteristic feature of oriental art. His teleological view of history meant that he considered 'oriental' cultures as less 'developed', more autocratic in terms of their political structures and more fearful of divine law. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage god only through 'sublated' means. He believed that the excess of intricate detail that is characteristic of Chinese art, or the dazzling metrical patterns characteristic of Islamic art, were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.
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