被贬低的审美:自然美的历史阐释与当代之思
|
摘要
自然美和艺术美作为美学的经典范畴和基本论题,历来受到美学家们不同程度的关注。而自然美在美学中的地位一直未得到应有的重视,要么作为艺术美的相对意义而存在,要么直接被称为"不完全、不完善的美"。西方传统美学和分析美学受康德和黑格尔的深刻影响,美学发展成所谓的艺术哲学,自然美被排除在美学之外。随着时代进步,美学也在不断地完善中,当前与自然美学密切相关的生态美学、环境美学的出现,提升了自然美学的地位,是对传统认识论美学"人化自然"观的拓展和突破。但是,当前审美主体、艺术实践、艺术传播方式等的变化,自然美学将何去何从,有待深入讨论。
As one of the classic category and basic thesis of aesthetics, natural beauty and artistic beauty have always been concerned by estheticians to varying degree. Getting little attention it deserves in aesthetics, natural beauty is placed in the position of a relative significance of artistic beauty, or directly referred to as "incomplete, imperfect beauty". Since western traditional aesthetics and analytical aesthetics are deeply influenced by Kant and Hegel, aesthetics has developed into so-called art philosophy excluding natural beauty. With the progress of the times, aesthetics is also in constant improvement. The appearance of ecological aesthetics and environmental aesthetics, which are closely related to natural aesthetics, contributes to upgrading the position of natural aesthetics and expanding and breaking through "humanized nature", the traditional view of epistemological aesthetics. However, the further in-depth discussion is required on the current changes of the aesthetic subject, the artistic practice, the mode of artistic dissemination, and the future development of natural aesthetics.
As one of the classic category and basic thesis of aesthetics, natural beauty and artistic beauty have always been concerned by estheticians to varying degree. Getting little attention it deserves in aesthetics, natural beauty is placed in the position of a relative significance of artistic beauty, or directly referred to as "incomplete, imperfect beauty". Since western traditional aesthetics and analytical aesthetics are deeply influenced by Kant and Hegel, aesthetics has developed into so-called art philosophy excluding natural beauty. With the progress of the times, aesthetics is also in constant improvement. The appearance of ecological aesthetics and environmental aesthetics, which are closely related to natural aesthetics, contributes to upgrading the position of natural aesthetics and expanding and breaking through "humanized nature", the traditional view of epistemological aesthetics. However, the further in-depth discussion is required on the current changes of the aesthetic subject, the artistic practice, the mode of artistic dissemination, and the future development of natural aesthetics.
引文
[1] 罗祖文.生态美学视阈中的自然审美范式[J].前沿,2012(3):12-15.
[2] 黑格尔.美学:第一卷[M].北京:商务印书馆,1958.
[3] 克莱夫·贝尔.艺术[M].北京:中国文联出版社,1984.
[4] 朱光潜.谈美[M].北京:中华书局,2015.
[5] 李泽厚.美学三书[M].天津:天津社会科学院出版社,2003.
[6] 陈望衡.培植一种环境美学[J].湖南社会科学,2000(5):96-98.
[7] 曾繁仁.当代生态文明视野中的生态美学观[J].文学评论,2005(4):48-55.
[8] 彭志勇.狄德罗美学再探究[J].安徽大学学报,1998(6):115-118.
[9] 章辉.威廉.荷加斯的形式美学思想剖析[J].东南大学学报,2003(5):75-78.
[10] 宗白华.艺境[M].北京:北京大学出版社,1987.
[11] 陈鼓应,赵建伟.周易今注今译[M].北京:商务印书馆,2005.
[12] 周振甫.文心雕龙今译[M].北京:中华书局,1986.
[13] 北京大学哲学系美学教研室.西方美学家论美和美感[M].北京:商务印书馆,1980.
[14] 曾繁仁.人类中心主义的退场与生态美学的兴起[J].文学评论,2012(2):108-113.
[15] 陈炎.审美也是一种终极关怀[J].中国人民大学学报,2006(2):90-95.
[2] 黑格尔.美学:第一卷[M].北京:商务印书馆,1958.
[3] 克莱夫·贝尔.艺术[M].北京:中国文联出版社,1984.
[4] 朱光潜.谈美[M].北京:中华书局,2015.
[5] 李泽厚.美学三书[M].天津:天津社会科学院出版社,2003.
[6] 陈望衡.培植一种环境美学[J].湖南社会科学,2000(5):96-98.
[7] 曾繁仁.当代生态文明视野中的生态美学观[J].文学评论,2005(4):48-55.
[8] 彭志勇.狄德罗美学再探究[J].安徽大学学报,1998(6):115-118.
[9] 章辉.威廉.荷加斯的形式美学思想剖析[J].东南大学学报,2003(5):75-78.
[10] 宗白华.艺境[M].北京:北京大学出版社,1987.
[11] 陈鼓应,赵建伟.周易今注今译[M].北京:商务印书馆,2005.
[12] 周振甫.文心雕龙今译[M].北京:中华书局,1986.
[13] 北京大学哲学系美学教研室.西方美学家论美和美感[M].北京:商务印书馆,1980.
[14] 曾繁仁.人类中心主义的退场与生态美学的兴起[J].文学评论,2012(2):108-113.
[15] 陈炎.审美也是一种终极关怀[J].中国人民大学学报,2006(2):90-95.