Aesthetic Non-utilitarian Proposition

The proposition of aesthetic disinterestedness is the core proposition of the modern Western aesthetics, and it has been established in the 18th century. As the foundation and an important tradition of the theoretical system of the modern Western aesthetics, it has promoted the birth and the independence of the aesthetics in the 18th century and later an enormous and far-reaching impact in the Western aesthetics.Although the proposition of aesthetic disinterestedness established in the 18th century, before the 18th century, the estheticians' thought results about the ideals of beauty has made the necessary preparations for the emergence of this proposition, that include two points below: First, the theme of the beauty shifted to the social life from the natural world .Second, the beauty got rid of the good and truth and won the relative independent status.The dualism, as the important tradition of the Western philosophy, also provided the support for the emergence of the proposition of aesthetic disinterestedness, but the direct ideological background of the emergence of this proposition is the importance of experience. British empirical estheticians transformed the proposition of disinterestedness as an ethics proposition into the aesthetic proposition, and later, this proposition has been established as the core proposition of the Western aesthetics by Kant, a German critical philosopher, from that on, the concept that aesthetic activities does not involve interestedness had became the first principle of the contemporary Western aesthetics.As the core proposition of modern Western aesthetics, the proposition of aesthetic disinterestedness has been criticized and denied widely, the reason is that contemporary Western aesthetics had been developing along the two directions: First, aesthetic activities fill in people's daily lives; Second, the beauty had been colonizing to the nature, concentrated expression in the rise of environmental aesthetics. At the same time, the limits of art had becoming wider and blurrier increasingly. The aesthetic process of the daily life ask for repealing the distance between aesthetic activities and activities of daily living; the environmental estheticians advocated the establishment of a new aesthetic theory that people in the aesthetic activity should be closer to the aesthetic object; and the boundary between art and daily life has been cleared up. The proposition of aesthetic disinterestedness had led to the split between aesthetic activities and the daily activities, the split between aesthetic subject and aesthetic object, and the split between art and people's daily life. But after these splits have been cleared up, the proposition of aesthetic disinterestedness has been denied. However, it is not a complete failure, as long as it does not tend to point to the theoretical division, isolation, quarantine, but a characterization of the state that aesthetic subject respect for aesthetic object, then the possibility of the reconciliation between the proposition of aesthetic disinterestedness and the contradictory theory.Three chapters make up of this paper .The first chapter summarizes the thought results about the ideal of the beauty in the age before the 18th century, which from the ancient Greece to Renaissance, and then pointed out that during this period which conditions for the emergence of the proposition of aesthetic disinterestedness had been prepared. The second Chapter summarizes the ideological background of the establishment of the proposition of aesthetic disinterestedness, and summarized the theoretical process that this proposition had been established as the core proposition of the modern Western aesthetics, and then it's influence; The third chapter discusses that what kind of criticism the proposition had been suffered in the background that the beauty had been infiltrating to the society and nature, and the borderline of art became blurry. And, point out that whether and why the proposition of aesthetic disinterestedness is reasonable, that is, it's contemporary fate.