Perspective Of Cultural Philosophy Of Kant's Aesthetic Theory Study

This article, systematically from the cultural philosophy perspective, comes comprehensively to grasp the Kantian esthetic cultural thought, to which the cultural modern attention is paid. In this way, there appears a totally new perspective and a question threshold on the study of Kant, whereby the disadvantages that the discussion on Kantian philosophy or esthetics thought is simply based on the huge collection of reference material without fresh viewpoint are avoided.Based on the domestic and foreign present researches, this article expounds the significance of the paradigm turn, i.e. Esthetic Culture enters to the esthetics field and becomes one of the important dimensions in the research of esthetics. Simultaneously the article puts the domestic and foreign researches on Kant in order, then elaborates Kant's basic cultural standpoint. Kant understands beauty and esthetic action as a culture, understands the culture as the countermeasure to reconstruct the overall relations among human, society and nature, understands the reasonable existence of the real world as the process of the harmonization of culture and goal, and fixes freedom as the cultural ultimate. In other words, all Kant's cultural thoughts are constructed on his understanding of the unique relations between human and the world, from which all esthetics issues are expounded.Kant understands the source of beauty by completely breaking through the ancient western esthetics tradition that the source of beauty is attributed to the outer of human. He puts forwards to consider the source of beauty when expounding the relation between human and the world, therefore proposes the idea that subject esthetic judgment is the source of beauty. From the human-world relation, he understands the relation between beauty and esthetic sense on the basis of judgment possessed by human which can unifying the intellectual strength and the rational strength. He gets ready theoretically for reconstructing the more daily, more artistic and more humanized esthetics in the 20th century. Also from this. Kant understands loftiness, which cannot be found in the perceptive relations between human and the world, i.e. the proper nature of the object. The keys to loftiness can only be found in subjects, i.e. the outside of perception. According to his understanding, in the universe the only real subject is human, which is not only the perceptive phenomenon, but also the noumenon beyond perception, the subject with self-consciousness. Thus "truly loftiness can only exist in judging subject's consciousness but not in the natural object". Kant also believes that the artists previous to the artistic works are not the residence of the works. The artistic works do not inhabit in the artists, works are not the property of the artists, and artists do not determine a certain work. In essence, the source of both artists and artistic works is art, which determines artists and artistic works as well. Kant, therefore, accomplishes the first deconstruction of the relation between artists and artistic works, realizes the total esthetic construction of artists and artistic works, and provides the theoretical and methodological preparations to the binary deconstruction of the relation between artists and artistic works from Heidegger in the 20^th century.