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The purpose of the paper is to explain the systemic concepts of epistemology in Chinese ancient aesthetics in the context of the concepts and system in Western modern aesthetics. The comparison and hermeneutics methods would be applied for the understanding of the concerned aesthetics text and related elements-historical and cultural influence.
Western aesthetics tradition divided two: German and English, as priori and experience sense about beauty. Kant had synthesized the two traditions. The solution was to acquire generalization between the subjectivity and objectivity. The method of comparison was adopted as considering the historical contexts and cultural differences.
The traditions of ancient Chinese aesthetics were two: Confucius and Laozi. The characteristics of them were used as the instrumental and means for the sake of political thought. The beauty, in the eyes of the ancient Chinese aesthetics theorists, was the highest level of the good. That thesis composed the contents and methods.
I suggest, in conclusion, the three points that first, Chinese ancient aesthetics seldom had has autonomy and independence itself value of beauty itself. Second, it seemed to need synthesize the three thesis of epistemological sphere between priori and experience, text and environmental elements, and intents and non-intents. Third, it needs that we would have value free concept sets framework for systemizing ancient Chinese aesthetics in the future.
Western aesthetics tradition divided two: German and English, as priori and experience sense about beauty. Kant had synthesized the two traditions. The solution was to acquire generalization between the subjectivity and objectivity. The method of comparison was adopted as considering the historical contexts and cultural differences.
The traditions of ancient Chinese aesthetics were two: Confucius and Laozi. The characteristics of them were used as the instrumental and means for the sake of political thought. The beauty, in the eyes of the ancient Chinese aesthetics theorists, was the highest level of the good. That thesis composed the contents and methods.
I suggest, in conclusion, the three points that first, Chinese ancient aesthetics seldom had has autonomy and independence itself value of beauty itself. Second, it seemed to need synthesize the three thesis of epistemological sphere between priori and experience, text and environmental elements, and intents and non-intents. Third, it needs that we would have value free concept sets framework for systemizing ancient Chinese aesthetics in the future.
목차
【국문요약】
1. 서론
2. 미학 인식론 체계 구성 이론
3. 방법의 구상
4. 기존의 관련 논의
5. 미학 인식론의 서양 전통 차원
6. 고대 중국 미학 인식론의 구성 가능성
7. 결론
【참고문헌】
【Abstract】
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UCI(KEPA) : I410-ECN-0101-2012-240-003813462