For many, Hermann Cohen appears as a dry pedant, a scientistic philosopher who saw the task of thought solely as refining the physical-mathematical natural sciences. This unfair assessment is due to the changing era at the end of Cohen's life and Heidegger's biased critique of his philosophy. However, Cohen was a figure of Renaissance magnitude, although he did not live during the Renaissance but rather at a time of the breakdown and collapse of European civilization. Cohen’s philosophy signifies a re-evaluation not only of Kant but also of Plato, Nicholas of Cusa, Spinoza, and Leibniz, along with a renewed return to the roots of biblical thought. In this context, attention should be paid to Cohen’s new philosophy of love, which is evident in several of his works. Equally important is the examination of how this theme was developed in the works of Cohen’s disciples and followers during the later period of his career. For many, Cohen's philosophy of love became the key to creating a new aesthetics and philosophy of religion. In this presentation, we will primarily explore the concepts of Kagan, Bakhtin, Rubinstein, and Pasternak. It is also essential to compare these ideas with the philosophy of Cohen’s German disciple, Franz Rosenzweig. Cohen’s philosophy of love holds particular significance in his understanding of aesthetics and literary theory. After a period of neglect in the mid-20th century, the study of Cohen saw a sharp resurgence in the 1970s under the influence of the so-called "Hegelian Renaissance" (a term coined by Heinrich Levy). Over the past 50 years, Cohen and his school have attracted the attention of hundreds of scholars, allowing us to pose new questions and offer new answers.