Aesthetic Activity Occurring in Drinking Activities

Haeng Cheol Lee,Wan Sok Jang,Ming Hua Fan 한국차학회 2015 한국차학회지 Vol.- No.S

In recent years, the rapid development and wide application of Aesthetics fully demonstrates this trend of the times. High quality of life have become increasingly demanding of modern times, which naturally lead people to the tea drinking as a way to further improve the quality of life. This means the trend of aesthetic demands and development of tea drinking. “tea drinking activity” means in a space, using tea drinking tool, one or several people’s behavior of drinking tea. This may include all activities related to factors in the needs to drink tea. As Aesthetic Activities organized by diverse factors, Tea drinking can endogenous form a variety of Aesthetic Relations which can be independently stretched into different Aesthetic Activities. Tea drinking is the non-utilitarian, complex aesthetic carried out by a variety of Aesthetic Relations. Aesthetic occurred in tea drinking activities can be divided into appreciation aesthetic, artistic creativity aesthetic, emotional communicative aesthetic and cultivation aesthetic. This four kinds of Aesthetic are not independent but complex occurred.

스포츠와 무용의 미적 동질성과 예술적 차이점

장정윤 ( Chung Yoon Chang ) 대한무용학회 2012 대한무용학회논문집 Vol.70 No.1

스포츠와 무용의 객관적인 심미의식의 대상은 신체와 운동이다. 관전자는 미적 태도에 의해 미적 경험(aesthetic experience)을 가지며 미적 가치를 발견하게 된다. 스포츠를 통해 경험하는 시간성, 공간성, 직접성, 힘(역동성)과 같은 특질은 무용예술의 미적 성질과 매우 유사하다. 본 연구는 스포츠와 무용 각각의 미적 경험 가운데 발견되는 미적 동질성이 무엇이며 더 나아가 근본적인 차이점이 무엇인지를 고찰함으로써 스포츠와 무용의 차별화를 모색한다는 데에 그 필요성을 두고 있다. 또한 이 연구는 스포츠에 대한 철학적 의미와 미적 가치를 확장하기 위해서도 필요하다고 할 것이다. 본 연구는 스포츠와 무용에 대한 미적 동질성을 논하며, 더 나아가 스포츠와 무용의 예술적 측면에 대한 차이점을 밝히는 것을 목적으로 한다. 스포츠와 무용의 미적 동질성을 모색하기 위해서는 미적 지각을 바탕으로 하여 미적 형식원리, 미적 질, 미적 표현을 고찰한다. 목적스포츠의 실천 방법과 목적의 측면을 미적스포츠와 무용의 그것들과 구별하고, 스포츠와 무용의 예술적 측면에 대한 차이점을 논하기 위해서 상상, 재현, 상징 등을 비롯한 예술적 요인을 고찰한다. 본 연구는 무용미학의 입장에서 스포츠의 미적 특성을 객관적으로 탐구하고, 무용수와 스포츠실천자는 물론 무용과 스포츠를 관람하는 사람들에게 미적 경험을 환기시키며 폭넓게 바라보는 관점을 제시한다. Sport have been considered as one of the artistic cultural development since recent times. Sport is recognized as the artistic by a few scholars since the realm of artistic concepts has been expanded. Post modern elements of interaction, play and improvisation in the artistic movement are also found in the sporting context. Sport is artistic when observer approach to it with aesthetic attitude, when the player presents proper timing of playing, articulation and changing aspects, in other words, when the player presents the rhythm and tempo as timing element, bodily space and movement pattern as space element, and interacting force between players, which also is the dynamic powers between the winning and losing. The purpose of this thesis is to discuss about the aesthetic identification and artistic difference of sport and dance. Sport as well as dance is aesthetic. The aesthetics of sport objectively explore the aesthetic characteristics of sport, and subjectively the aesthetic experience, aesthetic judgement, and aesthetic value. Sport performer experiences his spirit encountered with his own body, experiences his own kinesthetic sense, the aspects of life -the dramatic and the dynamic powers. However the spontaneous expression in sport is different from the projected expressive art-such as dance-in certain ways. Sport is intended to perform the evocation of aesthetic experience both for athlete and the audience. Comparing the artistic recognition of aesthetic sport and dance to purposive sport, we find that the purposes and the methods are unified in aesthetic sport and dance, not in purposive sport. The expressive intention is necessary in aesthetic sport, although creative intention is not essential in sport as much as in dance. Aesthetic approach to sport not only confirms the people better understanding and interest on sport, but also includes the formulation of their own subjective bodies, lives and interactive power in a community. Sport is regarded as one of cultural activities, as an evocation of the aesthetic experience both of performer and observer.

미학적 앎의 양식에 근거한 미술적 지식의 교육적 함의 - Eisner의 미학적 인식론을 중심으로 -

이자현 한국조형교육학회 2009 造形敎育 Vol.0 No.33

The issue about art education and art curriculum should be interpreted the aesthetic value and certain epistemology. For these reasons, there is no question that Eisner's aesthetic epistemology should provide reasonable and practical base to art curriculum in that the nature of art primarily interacts with the knowledge of art. Eisner asserts that the modes of knowing or the process of knowing about human is aesthetic. Furthermore, he has taken up the same position on art education. On top of that, the aesthetic in education has two major contributions to make, neither of which is yet a purposeful part of our educational agenda. First, it tells us about the world in ways specific to its nature. Second, it provides the experiential rewards of taking the journey itself. Eisner's assertion is that our experience of the world is basically qualitative. In order to achieve a social dimension in human experience, a means is demanded to carry what is private forward into the public realm. This is achieved by employing forms of representation. Forms of representation are the devices that humans use to make public conceptions that are privately held. Education is the process of learning how to invent yourself according to Eisner's phrase. To summarize, significant discussions stated in this paper include as follows: discussing about aesthetic mode of knowing and artistic cognition, enhancing artistic knowledge and cognitive functions of the arts, suggesting art-based integration education, aesthetic experience based on aesthetic connoisseurship and aesthetic communication.

미적 교육의 현대적 의미

김수현 한국미학회 2002 美學 Vol.32 No.-

The idea of aesthetic education based on the concept of aesthetic experience functions as a principle for legitimating arts in general education. Yet the validity of traditional aesthetic experience theory has been under attack from the side of analytic aesthetics. And the theory of aesthetic education has searched for a new key with which the concept of 'aesthetic experience' can be modified. The key is 'aesthetic literacy'. The concept of 'aesthetic literacy' is employed as a metaphor of verbal literacy. It's metaphorical character is condition that the approaches to 'aesthetic literacy' define it in various ways: proper perception in aesthetic experience(Broudy, 1972); a mode of attending to certain phenomena from the context of ordinariness and of perceiving them aesthetically with 'informed engagement' to art, or 'search for meaning'.(Greene, 1981). Kaelin(1989) suggests the various levels at which 'aesthetic literacy' functions within the cognitive behavior of human beings: On the lower end, technical proficiency in the construction of an expressive context; and on the upper end, the discipline of criticism as informed by an effective metacriticism that is itself informed by and adequate aesthetic theory. Various approaches to 'aesthetic literacy' come to a point that it is rather a kind of aesthetic attitude than aesthetic competencies, that are necessary for understanding 'languages of arts' and can be trained by aesthetic education. In this context, 'aesthetic' is the same sense as Goodman's 'cognitive' competencies. The traditional theory of aesthetic experience, e.g. aesthetic attitude theory, definitely differentiated the aesthetic domain with the cognitive domain. However, the power of 'aesthetic literacy', overcoming differentiation of both, makes a domain, where aesthetic experience is 'cognitive' in broad sense. Also, the literacy of nonverbal artistic language stresses on cognitive faculties in experiencing aesthetic objects. From a practical point of view, the ideas of 'artistic literacy', or 'visual literacy' is functioning as aims of arts in education. Although 'aesthetic literacy' seems to be in a humble position nowadays, aesthetic education can provide for arts in education no less aims and goals than the other literacies. If we broadly use the term of 'aesthetic', it is to connote 'artistic'(broad sense of 'aesthetic'), 'aisthesis'(original sense of 'aesthetic'). 'Aesthetic literacy' by virtue of these connotations can be the same as 'artistic literacy', and the more than 'visual literacy'.

Research on the Structural Change of Aesthetic Theory from Social Sciences to Natural Sciences

류신,조택연 한국디자인문화학회 2019 한국디자인문화학회지 Vol.25 No.4

This paper analysis the aesthetic theory structure based on the knowledge framework of different disciplines, and there is a summary of the structural change of aesthetic theory. By far, there are different explanations on the aesthetics concept in the studies. In social sciences, the aesthetics concept is greatly related to the philosophical thinking of some basic problems of aesthetics. The basic problems are explained with the basic principles of philosophy, and the phenomenon of aesthetic, the form of beauty and the method principle of beauty are discussed form the prospect of psychology. While in natural sciences, the concept is analyzed with aesthetic evolution, aesthetic experience and aesthetic principle from the prospect of biology or neuroscience. And the current aesthetical studies are most dependent on the principles of cognitive science. Under the background of such study background and theory development, there is a conclusive study of the aesthetic theory structure based on the knowledge framework of different disciplines. The study purpose of this paper is to have an organization and conclusion of the aesthetic theory development for a more structured understanding of aesthetic concepts. The study method is the methods of literature investigation and theoretical analysis. There is an analysis of the main historical figures related to aesthetic theory and works to sort and conclude the main features of relevant theories. This study scope is the aesthetics concept in different disciplines, structural change factor of the aesthetics development concept, so as to sort and analyze the theoretical basis of aesthetics in different disciplines. In this study, there is mainly organizing on the aesthetic theory in social science and natural science, and there is the conclusion of the aesthetics development in social science, natural science and the impact of cognitive science on aesthetics development in the future. Then, there is an analysis of the structural change in the aesthetic theory. There is a summary of the structure and features of aesthetic theory and the diversified development trend of theoretical structure. The following of aesthetics in different disciplinary theory structures are concluded, including study methods, study ranges, differences of study objects. Finally, the features of the aesthetic theory structure in social science, natural science, and cognitive science are concluded. This study can help people better understand the concept of aesthetic theory and provide a structural framework for aesthetic theory development.

Research on the Integrative Application of Neuroaesthetic Theory in Aesthetic Education

류 신,위란란 한국전시산업융합연구원 2023 한국과학예술융합학회 Vol.41 No.4

This research is based on the theory of neuroaesthetics, with the perception and expression of beauty as the center, and explores its application in aesthetic education from the perspectives of visual and non-visual aesthetics. The research objective is to explore the possibility of applying the principles of neuroaesthetics in aesthetic education, and to research the theoretical framework for the combination of neuroaesthetics and aesthetic education. Specifically, it analyzes the aesthetic order from the mechanism basis of aesthetic cognitive principles, looks for the relationship between visual symbols and Formal language, and discusses the mode of aesthetic education through teaching practice and questionnaire survey. The significance of the research lies in exploring the diverse applications of neuroaesthetic theory. Provide new research perspectives and directions for aesthetic education, and improve the quality and effectiveness of aesthetic application and aesthetic education. Especially in the context of interdisciplinary integration, providing a theoretical basis for the application of aesthetics, exploring the diverse development direction of neuroaesthetic applications through a combination of aesthetic mechanisms and educational processes. The research methods of this paper include theoretical analysis, theoretical deduction, questionnaire survey, and practical teaching experimental methods. The research scope is related to neuroaesthetics and aesthetic education, with a focus on the theoretical framework of aesthetic application. The research content starts from the concept of beauty and analyzes the order and laws of beauty through neuroaesthetic theory, principles, and brain mechanisms. Researching the application of neuroaesthetics in aesthetic education through educational practice, and summarize the theoretical framework of neuroaesthetics in aesthetic education. Clarify the relationship and structure of vision, semantics, language, and logic, and emphasize the significance education method that adapts to the aesthetic mechanism of the brain. The research results of this paper can be summarized as the applied methods of neuroaesthetics in aesthetic education as two aspects and three steps. The research conclusion is that neuroaesthetic theory can be integrated into aesthetic education. That is, at the same time of language meaning, aesthetic feeling is obtained through the contact of Formal language and visual symbols, so as to improve the effect of aesthetic education.

Research on the Structural Change of Aesthetic Theory from Social Sciences to Natural Sciences

Lyu, Xin(류신),Cho, Taig Youn(조택연) 한국디자인문화학회 2019 한국디자인문화학회지 Vol.25 No.4

본 논문은 서로 다른 학과의 지식 프레임 기반의 미학 이론 구조를 분석하고 미학 이론의 구조적 변화에 관해 연구하려 한다. 현재 미학 연구는 미학 개념에 대한 해석이 아주 다르다. 사회과학 범주에 미학개념은 대부분 미학 기본 문제에 대한 철학적 사고하며, 미학의 기본적인 문제가 철학적 기본 원리를 통해 해석한다. 그리고 심리학적 관점에서 심미 객체의 현상과 미적 형식, 미적 방식의 원리 등의 내용이다. 자연과학 범주에 미학 개념은 대부분 생물학이나 신경과학의 관점으로 심미 진화, 심미 경험, 미감 원리 등의 내용이다. 현 단계의 미학 연구는 인지과학 원리에 의존하여, 인지과학 범주에 미학 개념은 대부분 구체적인 심미 관련 두뇌 신경 구조와 심미 인지 원리 등의 내용이다. 이러한 연구 배경과 이론 발전의 배경에 기초하여, 본 연구는 서로 다른 학과의 지식 프레임을 기반 미학 이론의 구조를 개괄적으로 연구한다. 본 논문의 연구 목적은 미학 개념을 더 구조화된 이해하기 위해 미학 이론의 발전 및 구조적 변화에 대해 분석하고 해석한다. 연구 방법은 문헌 조사와 이론 분석방법이다. 미학 이론 관련된 주요 역사적 인물과 저작에 대한 분석을 통하며, 관련 이론의 주요 특성을 정리한다. 연구범위는 서로 다른 학과 범주에 미학 개념내용, 미학 개념 발전의 구조적 변화 요소, 그리고 미학은 다른 학과 범위 내의 이론적 근거를 정리와 분석한다. 본 논문의 연구 내용은 주로 사회과학과 자연과학의 심미와 관련된 이론 구조를 분석한다. 사회과학 범주에 미학의 발전과 자연과학 범주에 미학의 발전 과정을 고찰하고, 인지과학은 미래 미학 발전에 대한 영향을 개술한다. 그다음에 미학 이론의 구조적 변화를 분석하고 미학 이론의 구조와 특징, 이론 구조의 다원화 발전 경향을 설명한다. 다른 분야의 이론적 구조에 미학의 연구 방법, 연구 범위 및 연구 대상의 주요 차이점을 정리한다. 마지막에 사회 과학, 자연 과학, 인지과학 범주에 미학 이론 구조의 특징을 총괄한다. 본 연구는 미학 이론 개념을 잘 이해하기 위한 도움을 줄 수 있고 미학 이론 발전의 구조적인 프레임을 제공한다. This paper analysis the aesthetic theory structure based on the knowledge framework of different disciplines, and there is a summary of the structural change of aesthetic theory. By far, there are different explanations on the aesthetics concept in the studies. In social sciences, the aesthetics concept is greatly related to the philosophical thinking of some basic problems of aesthetics. The basic problems are explained with the basic principles of philosophy, and the phenomenon of aesthetic, the form of beauty and the method principle of beauty are discussed form the prospect of psychology. While in natural sciences, the concept is analyzed with aesthetic evolution, aesthetic experience and aesthetic principle from the prospect of biology or neuroscience. And the current aesthetical studies are most dependent on the principles of cognitive science. Under the background of such study background and theory development, there is a conclusive study of the aesthetic theory structure based on the knowledge framework of different disciplines. The study purpose of this paper is to have an organization and conclusion of the aesthetic theory development for a more structured understanding of aesthetic concepts. The study method is the methods of literature investigation and theoretical analysis. There is an analysis of the main historical figures related to aesthetic theory and works to sort and conclude the main features of relevant theories. This study scope is the aesthetics concept in different disciplines, structural change factor of the aesthetics development concept, so as to sort and analyze the theoretical basis of aesthetics in different disciplines. In this study, there is mainly organizing on the aesthetic theory in social science and natural science, and there is the conclusion of the aesthetics development in social science, natural science and the impact of cognitive science on aesthetics development in the future. Then, there is an analysis of the structural change in the aesthetic theory. There is a summary of the structure and features of aesthetic theory and the diversified development trend of theoretical structure. The following of aesthetics in different disciplinary theory structures are concluded, including study methods, study ranges, differences of study objects. Finally, the features of the aesthetic theory structure in social science, natural science, and cognitive science are concluded. This study can help people better understand the concept of aesthetic theory and provide a structural framework for aesthetic theory development.

한국미학에 드리워진 동학사상 - 김지하의 미학사상을 중심으로

최경춘 동학학회 2018 동학학보 Vol.0 No.46

The purpose of this study is looking at the acceptance of thought of DongHak that is principle of creation of aesthetic idea and fundamental of the aesthetics world by Kim Ji Ha. Kim Ji Ha expanded the aesthetic world by way of support the vitality of thought of Dong-Hak, and suggested a new aspect of korean aesthetics. The content of this study is to study of acceptance process of thought of Dong-Hak, through the Kim Ji Ha's aesthetic that is his aesthetic principle of thinking. As the method, the first, the writer is going to explore aesthetic meanings of 'Si-Cheon-Ju'(worship the sky) in Dong-Hak「Non-Hak-Mun」. The second, the writer defined 'Cheon'(天, idea of the god of sky) that the core concept of Dong-Hak's founder Choi Je Woo as liberty, and extracted the concept of 'Hin-Gue-Nuel'(white shade) from it. The third, it is to establish aesthetic meaning of 'Go-Ree'(ring) with 'Gung-Gung'(bow and bow) in DongHak's「 Po-Duk-Mun」. The result of this study enabled us to organize the aesthetic thoughts of Kim Ji Ha, was based on the Dong-Hak idea. First, the principles which 'SiCheon-Ju' is enabled are defined as 'gap', and the 'Si-Cheon-Ju' was proposed as an aesthetic condition that create the inner part of a human being with selfimportance and creativity. Second, 'Gong'(空, being empty), 'Huh'(虛, nonexistence), 'Mu'(無, nothing) that is created in liberality of 'Cheon', Choi Je Woo's core concept was defined as aesthetic concept by converting into 'Gue-Nuel'(shade), 'dislocation', 'Hin-Gue-Nuel'. Third, it is that 'Gung-Gung' in the「 Po-Duk-Mun」has same meaning with 'activity' or 'chaos'. Also, the writer recognize that it is the same as the principle of 'Go-Ree' due to cyclical expandability, he emphasized the aesthetic of 'Go-Ree' as the basic formation structure of aesthetic. 이 연구의 목적은 김지하가 축적해 온 미학세계의 근본적 토대이자 미학현상의 생성원리를 동학사상으로 보고, 김지하 미학의 동학사상 수용과정을살펴보고자 한다. 김지하는 동학사상의 생명력에 힘입어 미학세계를 심화 확대시키고, 한국 미학세계에 새로운 양상을 제시하였다. 이 연구의 내용은 김지하의 미학을 통해 그의 미학적 사유원리인 동학사상의 수용과정을 연구하는 것이다. 그 방법으로 첫 번째는 동학「논학문」소재‘시천주’의 미학적 의미를 탐색하는 것이다. 두 번째는 동학의 시조 최제우의핵심개념인 ‘천’사상을 자유로 규정하고, 그로부터 ‘흰 그늘’의 개념을 추출하는 것이다. 세 번째는 동학의「 포덕문」에 나오는 ‘궁궁’으로 고리의 미학적 의미를 밝히는 것이다. 이 연구의 결과는 김지하의 동학사상에 뿌리를 둔 그의 미학사상을 정리할 수 있었다. 첫 번째는 ‘시천주’를 가능케 하는 원리를 ‘틈’으로 규정하고, 그‘시천주’를 자주력과 창의력을 가지고 인간의 내면을 생성하는 미학적 조건으로 제시하였다. 두 번째는 최제우의 핵심개념인 ‘천’사상의 자유성에서 생성된 ‘공’, ‘허’, ‘무’를 ‘그늘’, ‘엇’ ‘흰 그늘’로 전환시켜 미학적 개념으로 정의하였다. 세 번째는「포덕문」에 나오는 ‘궁궁’이 ‘운동’과 ‘카오스’이며 순환적 확장성에 기인한 ‘고리’의 원리와 동일하다고 인식하고, 미학의 기본적인 생성구조로 고리의 미학을 강조하였다.

화이트헤드 철학의 미학적 정립 문제

조경진 한국미학예술학회 2020 美學·藝術學硏究 Vol.61 No.-

This paper focuses on the fact that Whitehead's speculative metaphysics in itself can be determined as an aesthetic ontology, and explores under what conditions and arguments this can be possible. Whitehead regards the aesthetic as the ultimate fact and purpose of becoming entities. Therefore, the description and analysis of the creation and the core concepts for this are organized around aesthetic purpose and categories. Whitehead's philosophy can be defined as a kind of an analysis of aesthetic experience in that it is an analysis of the becoming process of entities. Thus, reading his philosophy as an aesthetic description narrative provides important insights into aesthetic matters. In this paper, by analyzing the nine categoreal obligations presented in Process and Reality from an aesthetic point of view, it is shown that the process of creation can be defined as a process of aesthetic synthesis. Furthermore, based on the premise that aesthetics deals with not only the sensuous, but also the emotional aspects of experience, by showing that the entire process of creation that Whitehead philosophically analyzes is actually dominated by emotional subjective forms, his philosophy is confirmed to be aesthetic. Finally, by applying Whitehead's philosophy to the problem of the characterization of aesthetic experience, aesthetic experience is characterized from an ontological perspective. 본고는 화이트헤드의 사변적 형이상학이 그 자체로 하나의 미학적 존재론이 될 수 있다는 데 착안하고, 이것이 어떠한 조건과 논거에서 가능할 수 있는지를 탐구한다. 화이트헤드는 미적인 것을 존재의 궁극적 사실이자 목적으로 간주한다. 이에 존재의 생성에 대한 기술과 분석, 그리고 이를 위한 핵심 개념들은 미학적 목적과 범주를 중심으로 구성된다. 특히 창조성을 특성화하는 것으로 제시한 9개의 범주적 제약은 형이상학적 범주들임에도 불구하고, 공히 미적 범주들로도 손색이 없다. 특히 그는 존재를 기술하되 이를 실체 철학으로부터 분리해 생성과 과정의 유기체 관점에서 분석한다는 점에서, 그의 철학은 존재 자체의 창조적 생성 경험에 대한 분석이라고 규정할 수 있는데, 이 생성 경험에 대한 분석은 존재의 사실이 미적이라는 이유에서 공히 미적 경험에 대한 분석이 된다. 따라서 그의 철학을 미학적 서술로 읽는다는 것은, 비록 사변적일지라도 미학적 문제에 대한 중요한 통찰을 제공한다. 본고에서는 먼저 9개의 범주적 제약을 상세하게 분석함으로써 그것들이 어떤 점에서 미적 범주로 기능하는지 규명하고, 이 범주들이 기능할 때 만족을 추구하는 존재의 창조적 생성은 결국 미적 만족, 미적 종합의 과정에 다름 아님을 보인다. 나아가 미학이 감각적인 것은 물론 정서적인 측면을 다룬다는 점을 전제하고, 화이트헤드가 철학적으로 분석하는 생성의 전 과정이 실상 정서적인 주체적 형식에 의해 지배되고 있음을 보임으로써 그의 철학이 미학적인 것임을 확고히 한다. 마지막으로, 화이트헤드의 철학을 미적 경험의 특성화 문제에 적용함으로써 미적 경험을 존재론적 관점에서 특성화한다.

서구근대미학의 수용에서 미적범주론의 양상과 의미 - 한국과 일본의 초창기 미학을 중심으로 -

신나경 ( Nakyung Shin ) 한국동양예술학회 2016 동양예술 Vol.31 No.-

The study identifies how the Western aesthetic category theory had been accepted since the introduction of Western aesthetic notions in Japan, and accordingly understands the aspect of ‘aesthetic category’ and significance that have been mainly discussed in Korean aesthetics. Since Western aesthetics was introduced to Tokyo university in the late 19the century, Japanese aesthetics has accepted western aesthetic methodology while relying on its traditional notions. For instance, Ohnishi(大西克禮) has tried to incorporate Japanese traditional beauty concepts such as Yugen(幽玄), Sorrow(悲哀), and Wabi(わび) into aesthetic category. Most commonly used methodology in Korean aesthetics is also aesthetic category theory, which was, however, introduced to Korea in line with the Japanese colonial cultural policy; and thus, there has been criticism and introspection on Korean aesthetics, which has been too focused on aesthetic category theory under the influence of Japanese aesthetics and seems to be innately limited. Looking at aesthetic study trends between Korea and Japan, however, the differences of aesthetic category theory appear in their characteristics and foundation background. Korean aesthetic should not strictly be seen as part of Japanese aesthetic influence as Japan has also adopted Western aesthetics. Aesthetic development has become internationalized and grown into mutual and cultural understanding as the world has established closely interchangeable networks between nations. This phenomenon does not mean to nullify the cultural uniqueness and category of each nation because aesthetic concepts found in reality include the cultural difference; any culture obtains tangible concepts that define its aesthetic value. The future art and aesthetics will move forwards mutually agreed concepts among nations while each of them sustain its cultural and aesthetic uniqueness; in this respect aesthetic category theory will believably continue to be one of significant methodologies.