西方美学主体性概念是文艺复兴、启蒙运动以后由近现代哲学移植到美学领地之中的,是现代性的“发明”。笛卡尔的“我思”主体包含了此后被启蒙运动发扬光大,以后又被现代关学所批判的“工具理性”的雏形。主体性在康德关学中集中呈现为审美自主原则,他的美学观念中关于审美自主与主体性问题,充满了矛盾张力和阐释空间。卢梭在主体的主动性之外,认识到了人的屈从性,这对于浪漫主义美学表达的主体性观念有着深远影响。黑格尔用“主奴辩证法”来统摄现代主体自身内居的悖反性,结果却以膨胀的理性主体取代了感性主体和交互主体,得出“艺术终结”命题。现代性的张力产生了矛盾的主体,并为批判主体性理论留下了丰富的阐释空间。‘ The concept of the subjectivity of western aesthetics is the Renaissance, which was transplanted from the modern philosophy to the territory of aesthetics after the Enlightenment. It is the “invention” of modernity. The main body of Cartesian “I think” contains the rudiment of “instrumental rationality” that has been flourished since then by the Enlightenment and later criticized by modern Guan Xue. Subjectivity is concentrated in Kant’s study of Guanzhong as the principle of aesthetic autonomy. His aesthetic concept of aesthetics autonomy and subjectivity is full of contradiction tension and interpretation space. In addition to the initiative of the main body, Rousseau realizes the submissiveness of man, which has far-reaching influence on the subjective concepts expressed by romantic aesthetics. Hegel used the “dialectics of subject and servant” to reconcile the dissidence of the modern subject itself, but instead of the perceptual subject and the interaction subject with the expansion of rational subject, Hegel reached the proposition of “the end of art”. The tensions of modernity have produced contradictory subjects and have left plenty of room for interpretation in the critical theory of subjectivity. ’