论康德审美的四个契机理论及二、四契机的关系

康德审美判断四个契机的观点,是他四项知性范围学说在审美判断力评判中的运用,这主要是出于他先验哲学建筑术的需要。审美判断与知性判断的差异,就使得审美判断四个契机的内容本身便与知性判断四个契机中“量”的分析相矛盾。康德对四个契机的论述虽有精辟之处,但这四个契机本身并不能构成审美判断力评判的完整体系。其中,第一个契机是对“鉴赏”下定义,二、三、四三个契机是对“美”下定义。崇高作为一种依存美,虽与优美不同而且用到了知性范畴体系中“数学的”和“力学的”范围划分,但依然是形式上的。审美判断的普遍性和必然性是主观的。在主观的层面上,在康德设定的共通感方面,二、四两个契机是一致的和互补的。

Kant's Four Moments in Aesthetic and the Relationship between Moments 2 and 4

Kant's viewpoint about the four moments in aesthetic judgment, which was put forward mainly for the need of his Aprioristic Philosophy architecture theory,is the realization of his four intellectual categories in aesthetic judgment. The discrepancy between the aesthetic judgment and the intellectual judgment causes the contradiction between the contents of four moments in the aesthetic judgment and the "quantum" analysis of the four intellectual moments in the intellectual judgment.Though there are some shining points in Kant's explanation to the four moments, they are not enough to construct a complete system of the aesthetic judgment. As explicated by Kant,his first moment gives us the definition of "appreciation" and the other three explain what "beauty" is. Sublimity is an interdependent beauty,but it is different from elegance and is often used to distinguish the "mathematical" category from the "mechanical" category in the intellectual categorical system.It still concentrates on the form.The universality and inevitability of aesthetic judgment is subjective. Therefore, if we view "common sense" posited by Kant in a subjective mood, it is no doubt that the second and the fourth moments are uniform and complementary.