쇼펜하우어의 예술론 연구

Abstract

Schopenhauer's theory of art is not discussed at all or only covered at the extension level of Kant's Aesthetics in history of aesthetics. But it's regrettable that Schopenhauer's philosophy established on criticism about Kant's Aesthetics is just understood as extension of Kant. So, it is required to re-explore a unique position Schopenhauer's theory of art in aesthetic history and a significance of new perspective on experience of art, especially the sublime. In this context, this article is trying to find out inherent meaning of Schopenhauer's theory of art and concept of the sublime by comparison with a previous aesthetic perspective, especially Kant's aesthetics. Schopenhauer's theory of art tries to cut off aesthetic experience from the rational recognition system of reason, to reveal the essence of aesthetic experience by assuming aesthetic intuition of pure subject not belonging to the principle of sufficient reason. This aesthetic intuition is also knowing of pure subject to take a view the Idea and related to metaphysical perception about the nature of the world. So, on the prospect of this perception, art is not just technology of representation, rises to a position of philosophy that think about the nature of world and life. Schopenhauer's theory of art provides a basis for a leap forward in expanding meaning beyond the existing limited boundary of not only simple imitation and representation of things but also reflective judgment of subject in Kant's aesthetics. And in this expanding discussion on aesthetic and exploring the meaning of aesthetic experience as metaphysical perception, the sublime is highlighted as a concept with an important value beyond the beauty. The concept of the sublime was raised by Longinus as a rhetorical value, in modern times, it was emerged by Burke and Kant as a universal emotion separated from beauty. Burke synthesized the psychological characteristics of the sublime and corresponding to the target properties of it, Kant sought to uncover the a priori principle of perception that led to the judgment of 'it is sublime' on a object. In Kant's aesthetics, the sublime acquires epistemological meaning beyond simple aesthetic feelings by role of unconditional Idea of reason, and it is the foundation of the present sublime concept. Due to that for us, the sublime had to be accepted not a pure aesthetic experience, but rather an experience linked to rational reasons. With this regard in this respect, this article tries to clarify the difference between Kant's aesthetics and Schopenhauer's theory of art in relation to the concept of the sublime. By this discussion it looks at the limitations and problems that arise from understanding the concept of sublime within the system of Kant's aesthetics. It tries to provide a way to look at the feelings of the sublime as pure aesthetic experience out of the bounds of reason and moral values, also to provide metaphysical basis for the role of art as a comfort in life. In such way, experience of the sublime from art guide us to a resting place where you can reach your peace of mind by stopping rejection of the pain of life and letting the pain as the essence of life. This meaning of Schopenhauer's art and the sublime will guide the way of art as a philosophy that asks ourselves on the meaning of life beyond desire, for those of us living in a complex and empty modern society overflowing with sensory stimuli and fragmentary information.