本文試圖滲入康德哲學創作的步驗展現他美感判斷的特色，主要的目的是想披露康德先驗哲學一貫獨特的風味。康德第三批判過去的中外並不如他前兩批判一樣地受到矚目。一九九二年牟宗三先生翻譯出第三批判的中文本，並撰長文批評康德以「合目的性的原則」作為審美判斷先天原則的不諦與失指，牟先生因此提出「無相原則」以重述康德美學。本文也試圖表現牟先生的意見，並提出這兩位中西哲學家對美學岐見的解釋。

　　　　　This article unfolds Kant's aesthetic judgment by delving into his creative philosophical construction. The main goal is to reveal the consistently unique transcendental flavor of Kant's thinking. Until recently, the third critique had not enjoyed the same attention by his Western colleagues as his first two critiques. Likewise, Chinese scholars have hardly discussed this work. In 1992, the late Professor Mou Tsung-san translated Kant's third critique into Chinese. He also composed a lengthy article criticizing Kant's principle of taste. He almost repudiated Kant's Aesthetics completely, especially disagreeing with Kant's using "subjective purposiveness" as the a priori principle of taste. He laid out his doubts and formulated "the principle of indetermination" to substitute for Kant's "subjective purposiveness". This article also reviews Mou's thesis, and attempts to offer an interpretation of the differences between Mou and Kant.