현상학적 가치미학론 소고

Abstract

Aesthetics regards its object as a matter of values and a process of enabling these values. From this point of view, this paper discusses phenomenological aesthetics, based on a comprehensive consideration of the phenomenological theory of value. Among all values, aesthetic values ​​are classified as spiritual values. An aesthetic soul that pursues aesthetic values ​​is likely to go through beautiful experiences. As values ​​are given in value experiences, aesthetic values ​​are also given in aesthetic value experiences. Aesthetic values are related to a beauty that aesthetic objects actually contain a concept of this beauty. Also, experiencing these values requires direct and emotional interaction. Since human cognition is commonly limited, tragedy is inevitable in the value process. In other words, a commitment to one specific value implies denial of other values. A pursuit of aesthetic values does not necessarily ​​guarantee that the meaning of life and pain also comes about during the process of enabling these aesthetic values. An artist's intuition for aesthetic values ​​drives us to describe shapes, from which artistic works are produced. However, in a case when the result of an artistic work does not properly embody the artist's intuition, the artist's agony increases. In addition, a great gap appears during a process of projecting intuitive experiences onto objective shapes and, consequently and inevitably, a tragedy occurs because of the difference between a robust mechanism of aesthetics which have been passed down and the artist with lively spirits who builds a new ethos. A creation of aesthetic values ​​tends to go beyond boundaries. Then self-transcendence, a desire to transcend oneself beyond one's own potential, is reached and causes a rift between one’s desire for creativity and artistic creativity. As a result, the creativity that does not catch up with the creative desire hurts the artist with a sense of helplessness. However, paradoxically, his helplessness leads to a divine power. In other words, instead of simply pleading to God for his atonement, he rather hopes to be given a new life, a divine power, and an infinite goal. In this process, he also experiences inner encounters with the Infinity. Considering the above discussion, it can be concluded that a differentiation between other aesthetics and phenomenological aesthetics is made on the fact that the former is limited to only aesthetic value and its realization, but the latter also includes the artist's pains in this creative process.