The emergence of aesthetics as a distinct part of philosophy is part of the process of subjectification: beauty becomes solely a matter of subjective feeling, of taste. Art works are reduced to the contingencies of their reception. An aesthetics based on subjectivity has no way of articulating the truths in the work of arts that goes beyond their reception at a particular time.
Aesthetic judgments for Kant rely upon the fact that the object is received in the subject in terms of feeling and in terms of harmonious play of understanding and imagination.
The subject wholly determines the Object. Subjectivity and objectivity rigidly reflect each other, in terms derived from transcendental deduction.
Since Platonius begins his accounts of beauty by rejecting its identification with symmetria, for, since the same bodies appear sometimes beautiful and sometimes not, beauty must be something which shown itself in bodies, moreover there is a beauty in gold, in the stars, in sounds, in combination of words, in ways of life, in thoughts, in action, in characters, in the pursuits of intellect, in lightning at night, in virtues, in things, that is, for which no standard of measurement can be discovered.
It satisfied with common sense. We know a beautiful things is beautiful, I see it as beautiful or I think it is beautiful are tautologies. We cannot think or believe a thing is beautiful without falling into disagreement, specifically because beauty is its own guarantee.
We can, of course, know that "this is considered beautiful, or like the beautiful, as is particularly obvious with cultural artifacts, such as men and women. But these instance are not the perception of beauty. Indeed the idea of recognizing what is beautiful to one self is contradiction. Beauty may emerge from the familiar, but it is then...