Beauty Is In The Generation: Introduction To Time Aesthetic

As a historical puzzle, time has always been entangling the evolution of human civilization and culture development. Despite the overwhelming penetration throughout human life, it remains inexplicable, even though everybody is aware of it. Beyond the memory of men, the enthusiasm and interest in tracing what time never weakens. Moreover, it stands as the core issue in neoteric and modern times. By associating time with being to understand and explain what existence is, Heidegger opened a new epoch in western philosophy. With time involved in philosophy, he almost overthrew, or exceeded the overwhelming metaphysical tradition in western philosophy. Meanwhile, he renewed or promoted men's consciousness of time for thousands of years. As Heidegger confirmed, time is the Horizont for being and the primitive Horizont where being is explained. With the theme of Time Aesthetics and based on Heidegger's ontology time theory, this article aims to place aesthetics in the Horizont of time for operation to explore the origin of aesthetics and its Zeitlichkeit feature.The article consists of five chapters in two volumes.Volume I describe Time Aesthetics theory of Heidegger and divide into three chapters, with a focus on research of beautifulness and aesthetic Zeitlichkeit.Chapter One is preceded with explanation of Heidegger's ontology time theory, and mainly unscrambles such concepts as Dasein, time and Zeitlichkeit and their relationship. In this chapter, Heidegger devoted the whole life exploring the issue of being, according to which existence is always for its presence and seek of existence shall start from existence analysis of Dasein. As Zeitlichkeit constitutes Dasein existence, Zeitlichkeit is consequentially the Horizont to understand being. As an original, the Aussersich and eigentlich time phenomenon, Zeitlichkeit is different from general understanding of time. Therefore, we must try to understand Zeitlichkeit by means of Ekstase rather than through description on fixed attribute. Eigentlich Zeitlichkeit is the source of time, and general concept of time derives from intratemporality. As is said, Die Zeit ist zeitlich. Men as Dasein in time is unequal to men as essence of existence in time flow, instead, it means that source of Dasein is Zeitlichkeit, from which the structure of Dasein finity and exceeding Zeitlichkeit is derived. With such a structure, the world further globalizes and the apperception of existence is made available. That is how it is concluded that eigentlich Zeitlichkeit, as Ereignis of eigentlich Temporality, generate Horizont.Chapter Two concentrates on Ereignis Horizont, with a focus on Zeitlichkeit making of aesthetic state, Zeitlichkeit aesthetic generation and display of aesthetic in the view of time aesthetic trend. Firstly, it is believed that Zeitlichkeit opened a constitutional Horizont in seeking beautifulness and aesthetics. By being placed and studied in Zeitlichkeit Horizont aesthetics can be restored its origin status and its nature be explored. Through phenomenology description of Zeitlichkeit making of aesthetics state,aesthetics features in the view of time can be labeled- inebriation delivery, aesthetic attendance and unpreparedness degree. Secondly, the relation between Dasein eigentlich existence, apriorism imagination and Zeitlichkeit is discussed in this chapter, following which externalized aesthetic state Zeitlichkeit displays as Horizont where aesthetics is created: static state, dimension and imagination.The third chapter investigates means of art work processing time in an artistic way and the effect, excavates the role of time, both dormant and apparent, in current transcending, limited dormancy and Horizont return of time. Based on this, the charm of arts or its Zeitlichkeit origin is shown in Zeitlichkeit operation.Volume II reviews Zeitlichkeit phenomenon and its rule in domestic and overseas aesthetics in the perspective of history. It divides into two chapters and mainly focuses on aesthetics Zeitlichkeit.Against the background of time vision, the fourth chapter outlines the evolution of western aesthetics, aiming to find out limitation on aesthetic studies by loss of Zelichkeit and discover the historic necessity and logical inevitability to introduce time to aesthetics theory study. First of all, the chapter summarizes the evolution of the concept of time in western philosophy history, from which rupture and incontinuity of metaphysics structure and its survivorship theory can be observed. Secondly, the article studies the Zeitlichkeit of the important aesthetics theories in western aesthetics history in light of traditional and twenty-century aesthetics, therefore concludes that beautifulness has no Zeitlichkeit due to the metaphysical basis. By discovering the upheaval in twenty-century aesthetics and its development tendency, it has become the most important shift of western aesthetics study from'what beautifulness is'to'how to define beautifulness'.Enlightened by and in comparison with Heidegger's thought of time, Chapter Five adopts Confucianism, Taoism and Buddhism as examples, represented respectively by Confucius, Laozi and Zhuangzi as well as Nanchan, to study Zeitlichkeit features of Chinese classical aesthetics. Based on the aesthetic thought of Confucianism, Taoism and Buddhism and through intensive study and thoughtful speculation on original texts, Zeitlichkeit features of their own are discovered: the Horizont of'going with time'in Confucius aesthetics, the occasionalism of'changing with time'in Taoism aesthetics and the instantaneity of'emptiness with time'in Buddhism aesthetics. From all of the above, the unique implication of Chinese classical aesthetics is revealed.The issue of time has been remaining a puzzle, and the effort exercised on time aesthetics, though tremendous, still yields little. This article makes a preliminary study by placing beautifulness and aesthetics in Zeitlichkeit Horizont through Heidegger ontology time theory. Yet, a lot more fruitful and difficult researches are to be done. That is why this article is titled'Introduction'.