“内在者”的立场与视界——论环境美学与景观美学的会通基点  

The Standpoint and View of “Insiders”: A Point of Fusion of Environmental Aesthetics and Landscape Aesthetics

作　　者：黄若愚 HUANG Ruo-yu(Research Center for Literary Theory and Aesthetics,Shandong University,Jinan,250100,P.R.China)

机构地区：[1]山东大学文艺美学研究中心

出　　处：《北京林业大学学报（社会科学版）》2019年第4期14-20,共7页Journal of Beijing Forestry University ：Social Sciences

基　　金：教育部人文社会科学重点研究基地重大项目“环境美学与美学的改造”(11JJD750014)

摘　　要：自赫伯恩发起对艺术哲学的反思和对自然审美的提倡开始,美学研究就走上了一条革新的道路。环境美学主张环境就是审美的对象,环境中的一切事物都具有审美的相关性。作为审美主体的人也毫不例外地从属于环境,从而只能在环境之中进行审美体验。景观美学认为作为审美对象的景观是自然、人工和艺术的复合体,审美就是以“内在者”的立场对景观之于存在的意义的体验。通过对作为审美对象的“环境”和“景观”及其与审美主体关系的分析,认为环境美学和景观美学都继赫伯恩之后实现了审美对象的扩容,并秉持内在于对象的审美立场,从而获得了会通和融合的基本立足点。Since Hepburn initiated a reflection on the philosophy of art and advocated the aesthetics of nature,the study on aesthetics has begun to innovate.Environmental aesthetics asserts that environment is the aesthetic object,and everything in environment has aesthetic relevance.A man,as the aesthetic subject,belongs to an environment without exception,so he has aesthetic experience only in the environment.Landscape aesthetics regards the aesthetic objects as a complex of nature,artifacts and arts,and thinks that the aesthetics is an experience to the meanings of landscape for existence in the view of insiders.Through an analysis of the“environment”and“landscape”as aesthetic objects and their relationship with the aesthetic subject,it is concluded that both environmental aesthetics and landscape aesthetics have expanded the scope of aesthetic objects after Hepburn,and uphold an aesthetic standpoint of being intrinsic to the object,which gives them a basic foothold of convergence and integration.

关 键 词：环境美学 景观美学 环境 景观 内在者 

分 类 号：B83[哲学宗教—美学]