在西方美學所發展的社會條件中，一直以來基督宗教影響難以忽視，造成了整個知識系統中的禁慾主義。即使到了以理性價值對抗神學的啟蒙時代，社會仍未馬上「解禁」，因此所發展出的理性價值也有刻意忽略身體感官的傾向，更使得身體成為了心靈（理性）的對立面，因此美學在這樣的知識價值體系中發展的結果便是強調理性價值而輕感官。然而在歷經漫長世俗化之後的今日，獨尊理性價值的美學似乎已不適用於解釋多元發展的藝術。 雖然從 19世紀開始，已陸續開始有了對以往理性主義的反省，而在漸漸發展的反理性思潮中，在美學這個領域，越來越多人將關注焦點放在對於身體／感官的重視上。埃克伯特•法阿斯（ Ekbert Faas）以譜系學的研究方式重新審視了那些因自身知識體系的歷史發展而導致「身體」概念及價值毀滅的因素，並藉此反省而進行價值重估，進而發展出「親感覺論美學」。而理查德·舒斯特曼（ Richard Shusterman）則以顛覆傳統哲學知識體系的方式，企圖回歸鮑姆嘉登創建美學的初衷，重新建立「身－心」合一的身體美學（ somaesthetics）。這些研究顯示出今日美學越來越無法忽視身體／感官面向的趨勢。 本論文藉由梳理社會條件的轉變，嘗試找出今日美學所面臨的問題，並試論是否可以藉由對於身體感官的重新正視，讓美學走出一條將身心視為一體的多元路徑，找回美學對藝術的把握性。

The social conditions for developing Western aesthetics have been influenced by Christianity, leading to the formation of asceticism in the entire knowledge system. Even until the Age of Enlightenment, during which the confrontation between rational values and theology persisted, the society still did not abolish asceticism. Therefore, the resulting development of rational values had deliberately overlooked the aspects of bodily perception, causing the body to denote the contrary of the mind (rationality). Under this value system, the development of aesthetics had focused on rational values but neglected sensory perception. However, after an extensive process of secularization, the rationalistic monism of aesthetics can no longer elucidate the diverse development of arts in the current society. In the early nineteenth century, people began to reflect on the conventional rationalism. Amidst the trend of anti-rationalism, aesthetics placed increasing focus on the aspects of bodily perception. Ekber Faas adopted a genealogical approach to reexamine factors that cause the destruction of “somatic” concepts and values in the course of the knowledge system development. He reflected and revaluated related values, thereby deriving the properception theory of aesthetics. In an attempt to return to the original intention of which Alexander Gottlieb Baumgarten established the concept of aesthetics, Richard Shusterman employed a method overturning the traditional philosophical knowledge system to develop somaesthetics, a “body–mind” interdisciplinary field. The aforementioned assertions show that contemporary aesthetics no longer disregards the aspects of bodily perception. This study investigated the transformation of social conditions to identify problems facing contemporary aesthetics, deliberating whether re-emphasizing the aspects of bodily functions enables creating a diverse aesthetics pathway that perceives the body and mind as a single unity. Accordingly, the influence of aesthetics on arts can be clarified.