摘要
环境美学就其本质而言是风景美学。风景作为客观存在的自然景观,是不依赖于人的自然物。但是风景作为审美对象却是人为建构的产物。生活在农耕社会的古代中国人较早发现了自然风景的美,并以比德说的方式建立了和自然的审美关系,山水画在古代中国起到了某种类似宗教的作用。而以商业社会为主要特征的古代西方,对自然风景则较为忽略,西方古典艺术亦以人体艺术为主。作为工业革命的回应,人们开始关注并重新评估自然的审美价值,把城市和乡村相对立,赞美自然风景,西方风景画迅速发展并进入黄金时期。浪漫主义艺术家不仅描绘妩媚的自然风光,而且展示自然不可驯服、无法控制的野性力量,喜爱原始蛮荒甚至令人惊惧的自然风景。这引起了现当代西方艺术和美学主题的重大改变,开辟了通往荒野美学的道路。
Environmental aesthetics is,in its essence,landscape aesthetics.As an objective natural landscape,scenery is an object independent of human beings.However,landscape as an aesthetic object is a product of artificial construction.The ancient Chinese living in farming society discovered the beauty of natural scenery earlier,and established an aesthetic relationship with nature in ethical way.Mountain and water painting played a role which is similar to religion in ancient China.The ancient West,which was mainly characterized by commercial society,neglected natural scenery.Western classical art was dominated by body art.As a response to the industrial revolution,people began to pay attention to and reassess the aesthetic value of nature,to put the city against the countryside and praise the natural scenery.Western landscape painting developed rapidly and entered a golden age.Romantic artists not only depict charming natural scenery,but also show the untamable and uncontrollable wild power of nature.They love primitive and wild and even frightening natural scenery.This has caused a significant change in the themes of modern and contemporary Western art and aesthetics,and opened the way to wilderness aesthetics.
出处
《学术月刊》
CSSCI
北大核心
2022年第6期156-166,共11页
Academic Monthly
基金
代迅主持的厦门大学中央高校基本科研业务费“中国当代少数民族美学理论西化问题研究”(项目号:2072021015)的阶段性成果。
关键词
风景
历史
山水画
风景画
荒野
美学
landscape
history
mountain and water painting
landscape painting
wild
aesthetics
