胡塞爾沒有專門的藝術論著，也沒有系統成形的美學理論。這個事實不等於說胡塞爾不關注審美經驗，完全沒有一點自己的美學思想。事實上，在胡塞爾諸多的現象學著述中散佈著很有見識的藝術評論，使得他的現象學思想具有了某種美學特質。胡塞爾對審美現象的評論不是隨機零星的，而是有的放矢地為他的直觀現象學服務的。當他將想像意識視為一種典範式和奠基性的認識形式，並對想像的自由變異進行現象學描述的時候，藝術的認識形式得到了展現，審美活動不再是鏡像式的和模仿性的，從而進入到了一個藝術的想像王國。本文認為，在胡塞爾意識現象學的理論建構中，已經可以看到其關於藝術現象的意向分析雛形，從而為胡塞爾之後興起的現象學美學奠定了藝術哲學的方法論基礎。

This paper is intended to explore tentatively Edmund Husserl’s aesthetic thought from the perspective of intentionality and imagination in phenomenology. We know that Husserl had not written any books about art and aesthetics, and he had not formed so called aesthetic theory. But he had interested in the artistic experiences all time, and had given out his reflections on the aesthetic questions. In fact, there are a lot of artistic insight in Husserl’s written books and lectures. It is easy to find out the artistic character of Husserl’s phenomenological thought. Husserl tries from the outset to establish the intentionality structure as immanent operation within conscious acts, and he compare the perception presentation and imagination representation, especially stress the role of imagination consciousness in eidetic intuition. As Husserl says, phenomenology is a matter of liberation from the fact, and he takes the phantasy-consciousness as paradigm of cognitive action. It is noted that Husserl point out the resemblances between the phenomenological intuition and the aesthetic intuition in the free phantasy variation. In short, Husserl establish the base for the rise of the phenomenological aesthetics through the phenomenological reduction and imagination phenomenology.