本文旨在闡明洪席耶分析黑格爾的藝術經驗；更精確而言，如何從黑格爾看穆里略畫下年輕乞丐的觀賞經驗，連接其形而上的理念也是本文的重點，另一部分，本文也涉入洪席耶分析所使用的方法。前言為本文的問題意識與方法概述。第二、三部分探討洪席耶論黑格爾的辯證過程；依循洪席耶在《美感論》第二章裡的佈屬：本文歸納出，第二部分作為黑格爾的藝術經驗與其起源的議題，第三部分則是黑格爾的理念為母題。在第四部分，依循洪席耶的辯證，本文試圖指出洪席耶從黑格爾的藝術經驗所抽離出來的看法；此審美經驗將有別於黑格爾宣稱藝術已終結的走向，此審美經驗也將促使藝術朝向不一樣的未來。

The thesis attempts to elaborate the artistic experience of Hegel, specifically, how the experience of facing paintings: 'Little Beggars on the Street' correlated to metaphysical idea, so does the Ranciére's method that he approached Hegel. And, the research is separated into four parts. For the very beginning, it referred to the dodging consciousness and the approach of the author. Regarding to the second and third section, corresponding to the order of Ranciére's narration in Aisthesis, the thesis tries to analyze the dialectic between Ranciére and Hegel, in which could be categorized into two issues. For the first one, Ranciére relentlessly dedicated to artistic experience and its origin that Hegel truly went through. On the other hands, the topic surrounds the Hegel's idea. Finally, following the analysis of Ranciére, the thesis attempts to focus on Ranciére's perspectives extracted from the artistic experience of Hegel, in which this aesthetic experience is distinguished from the Hegel's statement: ＂the end of art＂, and heading toward the another future of art.