从艺术审美看杨春时的超越美学思想-艺术学(艺术美学)专业论文.docxVIP

Abstract Proceeding from the reality of the art appreciation, Chunshi Yangs transcendency aesthetic theory was inspected in this paper. Comparing the examples of art appreciation with Yangs internal theory kernels, it is believed that Yang’s transcendency aesthetic theory has great significance. First, in terms of art, material choosing, content authoring and knowledge accepting all heavily rely on human vita. Yangs Aesthetics, therefore, chooses subsistence as a logic starting point and the category of Ontology on studying the aesthetic problems, which is definitely reasonable. Second, the premise of aesthetic activity is understanding which can be only obtained by the independence of Utilitarian Awareness and human will, so that the nature of the work can be fully shown. And it is just the intersubjectivity emphasized in Yangs transcendency aesthetic theory. Finally, the transcendency of the work is the source of art aesthetic attainment. Yan gs Aesthetics’ defining transcendency as the essence of aesthetic activity is significant to how to explain the activity of art appreciation. However, Yangs aesthetics has simultaneously limitations. To begin with, it is lacking in axiology foundation, since transcending was directly considered as the essence of aesthetic activity .It may be more appropriate to describe that aesthetic perception derived from the conviction that the subject has gone beyond his limitations in the actual word which still ex ists in the previous period. And also, it does not only exist in the transcendental field, but also the reality. Second, it is oversimplified if intersubjectivity was considered as the entire procedure of aesthetic activity. It should include：（1）shield ourselves from the actual existence, towards intersubjective and experiencing the object; (2) drawing the conclusion from the introspection and judgment of experience; (3) confirm the fact that the subject has surpassed. Third, Yangs Aesthetics has a