German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace the oblique beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself.

德国哲学家 GWF 黑格尔在其艺术著作中对“美学”一词提出了质疑。本文试图捕捉黑格尔的艺术理论和艺术哲学之间的张力，及其对二十世纪随后作为消费者或解放性的艺术理论化的影响。音乐、诗歌和造型艺术似乎与柏拉图、亚里士多德、康德、黑格尔和阿多诺等哲学家产生了不同的共鸣。柏拉图认为音乐可以抚慰灵魂。在亚里士多德那里，当他质疑艺术在哲学中的作用时，人们可以追溯艺术理论与艺术哲学之间紧张关系的间接开端。康德的方法更为正式，涉及美、崇高、天才和审美对象的地位等概念，而黑格尔则致力于研究艺术作品的理性和情感方面，这决定了艺术是自由的还是受自然奴役的。康德和黑格尔都区分了艺术美和自然美。阿多诺等批判理论家也受到黑格尔的影响。阿多诺对模仿等概念的分析构成了他对文化工业批判的重要组成部分。阿多诺还强调古典艺术只能作为一个时代的产物而存在。然而，以其辩证的形式，艺术充当了对意识形态的批判。从十九世纪到二十世纪，艺术哲学和艺术理论之间最初的缝隙逐渐变成了鸿沟。因此，作为一种追求的艺术与作为消费的艺术（即作为消费文化的一个组成部分的艺术）之间存在争议的关系开始了。人工智能艺术的新现象也提出了关于人类元素与技术之间动态范式转变的有趣问题。本文还将尝试追踪艺术如何继续反抗物化，同时在不断被消费的过程中重新创造和重塑自身。