自然美和艺术美的关系及其与美学的体系性建构——从康德美学到环境美学
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摘要
该文考察了康德美学、后康德美学和环境美学对自然美和艺术美的关系的处理,在此基础上揭示了自康德到环境美学的美学体系性建构与自然美和艺术美之关系的本质性关联。康德美学把自然美和艺术美的关系阐释为自然美和艺术美的同一,以黑格尔美学为代表的后康德美学把自然美和艺术美的关系把握为艺术美对自然美的同化,环境美学则将二者的关系理解为自然美对艺术美的同化。美学的体系性建构必须对自然美和艺术美的关系这个美学的基本问题进行解答,这个解答不仅关涉着美学体系的完整性,而且在一定的层面上决定着美学思想的真理性。
This paper investigated the relationship between natural beauty and artistic beauty in Kantian aesthetics, Post-Kantian aesthetics and Environmental aesthetics. On the basis above, it revealed the essential relevance of the systematic construction of aesthetics from Kantian aesthetics to Environmental aesthetics with the relationship between natural beauty and artistic beauty. Kantian aesthetics interpreted the relationship between natural beauty and artistic beauty as the identity of the two. The Post-Kantian Aesthetics which was represented by Hegel's aesthetics interpreted the relationship between the natural beauty and artistic beauty as the assimilation of artistic beauty to natural beauty. Environmental aesthetics understood the relationship between the two as the assimilation of natural beauty to artistic beauty. The systematic construction of aesthetics must answer the relationship between natural beauty and artistic beauty which as a basic question of aesthetics. This answer not only relates to the integrity of the aesthetics, but also determines the truth of aesthetic ideology on a certain level.
This paper investigated the relationship between natural beauty and artistic beauty in Kantian aesthetics, Post-Kantian aesthetics and Environmental aesthetics. On the basis above, it revealed the essential relevance of the systematic construction of aesthetics from Kantian aesthetics to Environmental aesthetics with the relationship between natural beauty and artistic beauty. Kantian aesthetics interpreted the relationship between natural beauty and artistic beauty as the identity of the two. The Post-Kantian Aesthetics which was represented by Hegel's aesthetics interpreted the relationship between the natural beauty and artistic beauty as the assimilation of artistic beauty to natural beauty. Environmental aesthetics understood the relationship between the two as the assimilation of natural beauty to artistic beauty. The systematic construction of aesthetics must answer the relationship between natural beauty and artistic beauty which as a basic question of aesthetics. This answer not only relates to the integrity of the aesthetics, but also determines the truth of aesthetic ideology on a certain level.
引文
(1)(2)(3)(4)(5)(7)[德]伊曼诺尔·康德:《康德著作全集》(第五卷),李秋零译,中国人民大学出版社2007年版,第201、315、365、324、325、319页。
(6)先验美学即从人的先天认识能力(反思性判断力)及其先验原则出发思考美的问题的美学思想,胡友峰称康德美学的这个创造为“先验论转向”,我们在此借用之,以指称这种转向所形成的美学形态。参见胡友峰《康德美学中自然和自由观念研究》,浙江大学2007年博士论文,第44页。
(8)具体论述可参见王中原《美学危机、“回到康德”与自然美和艺术美的同一性》,《山东社会科学》2016年第9期。
(9)[英]罗纳德·赫伯恩:《当代美学与自然美的忽视》,李莉译,《山东社会科学》2016年第9期。
(10)陈海燕:《论谢林的自然与艺术观》,《东方论坛》2012年第4期。
(11)(12)(14)(15)(16)(17)(18)(19)[德]G.W.F.黑格尔:《美学》(第一卷),朱光潜译,商务印书馆1997年版,第4、16、92、186~196、5、142、149、183页。
(13)[德]威廉·文德尔班:《哲学史教程》(下卷),商务印书馆1993年版,第841页。
(20)(24)[德]马丁·海德格尔:《路标》,孙周兴译,商务印书馆2000年版,第508、275页。
(21)以上关于环境美学对自然美和艺术美的差异性的论述,主要参考文献是赫伯恩的《当代美学与自然美的忽视》一文。
(22)程相占:《环境美学的理论创新与美学的三重转向》,《复旦学报》(社科版)2015年第1期。
(23)Malcolm Budd.The Aesthetic Appreciation of Nature.Oxford University Press,2002:111.
(25)[德]西奥多W.阿多诺:《美学理论》,王柯平译,四川人民出版社1998年版,第112页。
(6)先验美学即从人的先天认识能力(反思性判断力)及其先验原则出发思考美的问题的美学思想,胡友峰称康德美学的这个创造为“先验论转向”,我们在此借用之,以指称这种转向所形成的美学形态。参见胡友峰《康德美学中自然和自由观念研究》,浙江大学2007年博士论文,第44页。
(8)具体论述可参见王中原《美学危机、“回到康德”与自然美和艺术美的同一性》,《山东社会科学》2016年第9期。
(9)[英]罗纳德·赫伯恩:《当代美学与自然美的忽视》,李莉译,《山东社会科学》2016年第9期。
(10)陈海燕:《论谢林的自然与艺术观》,《东方论坛》2012年第4期。
(11)(12)(14)(15)(16)(17)(18)(19)[德]G.W.F.黑格尔:《美学》(第一卷),朱光潜译,商务印书馆1997年版,第4、16、92、186~196、5、142、149、183页。
(13)[德]威廉·文德尔班:《哲学史教程》(下卷),商务印书馆1993年版,第841页。
(20)(24)[德]马丁·海德格尔:《路标》,孙周兴译,商务印书馆2000年版,第508、275页。
(21)以上关于环境美学对自然美和艺术美的差异性的论述,主要参考文献是赫伯恩的《当代美学与自然美的忽视》一文。
(22)程相占:《环境美学的理论创新与美学的三重转向》,《复旦学报》(社科版)2015年第1期。
(23)Malcolm Budd.The Aesthetic Appreciation of Nature.Oxford University Press,2002:111.
(25)[德]西奥多W.阿多诺:《美学理论》,王柯平译,四川人民出版社1998年版,第112页。