本文採取詮釋學方式對康德「目的王國」思想進行探討，試圖探討「Katrin Flikschuh提出的康德的目的王國是形而上學的，而非政治的」論點外，有沒有可能康德的目的王國以藝術的形式展現出來。首先，本文先初步描述Flikschuh論證出康德的目的王國是形而上學的，而非政治的（Kant’s kingdom of ends: metaphysical, not political）。其次，探討康德美學思想中，藝術（中國古典舞）和道德關連的基本輪廓；接著，以此立場出發，詮釋康德的天才理論中「和諧」的美感、「精神」的超脫意境兩項表徵和「目的王國」的可能聯繫。從分析結果瞭解，對康德而言，理性理念不能有對應的直觀，藝術家卻企圖以創造性的想像力突破了理性的自我設限。藝術家的辦法是以想像力創造出的「美感理念」作為「理性理念」的象徵(symbol)。也就是說，舞者透過中國古典舞的身韻、身法外在的「美感理念」呈現其內心的理性理念（大公而無私）。這也是對康德的天才理論中「精神」的另一種詮釋。同時也說明了，康德的目的王國可以用藝術的形式展現出來，也就是以中國古典舞的群舞演出（美感理念）象徵康德的目的王國（理性理念）。

This thesis explores the Kant's the Kingdom of Ends thought by means of hermeneutics, and tries to explore Katrin Flikschuh's "Kant’s kingdom of ends: metaphysical, not political." Is it possible that Kant's the Kingdom of Ends is presented in the form of art? First, the paper begins with a preliminary description of Flikschuh's argument that Kant's kingdom of purpose is metaphysical, not political. Secondly, it explores the basic outlines of art (Chinese classical dance) and morality in Kant's aesthetic thoughts. Then, from this standpoint, it interprets the two senses of "harmony" in Kant's genius theory and the detachment of "spirit". Possible links to the "the Kingdom of Ends." From the analysis results, it is understood that for Kant, the rational concept cannot be correspondingly intuitive, but the artist attempts to break through the rational self-limitation with creative imagination. The artist's approach is to create the "Aesthetic Ideas" created by imagination as a symbol of "Rational Ideas." That is to say, the dancers present their inner rational ideas (great and unselfish) through the body rhyme of Chinese classical dance and the external aesthetic concept. This is another interpretation of Kant's "spirit" in the theory of genius. At the same time, it also shows that Kant's the Kingdom of Ends can be expressed in the form of art, that is, the group dance performance (beauty concept) of Chinese classical dance symbolizes Kant's the Kingdom of Ends (rational idea).