The distinction between reason and senses, until recently maintained in philosophy, has now grown to cause serious doubts. The situation requires creating new forms of cognitive continuity revealed in various levels of emotional experience. Constantin Brâncuşi’s art is analyzed as an example of transgression of this distinction through building a vinculum between the earthly and the heavenly and between the external and the internal. The author refutes the common attribution of Brâncuşi’s art to the Parisian trends or to primary organic forms. In Brâncuşi’s understanding, art creates its own philosophy whose aim is to attain the essence of being. Thus, the artist explores the possibilities of transgressing the domination of sight, for idea, imagination or thought expressing flight through his sculpture. He captures a fleeting moment of balance between the meeting of forces. It is constantly in statu nascendi, only announced, perceived by the artist right before, as anticipated. It lasts as a being in suspension. Thus, Brâncuşi expresses his fascination with Plato’s theory of hierarchic transcendence of consequent stages of knowledge. According to this ethos, art attempts to reach the inside of matter so as to restore the lost unity with the universe. A column, as axis mundi, becomes the most expressive form of communication between the human process of transgression and the transcendent ideal of eternity.