经验主义美学与“如画”审美范式的生成理路  

The Path towards the Emergence of Empirical Aesthetics and "Picturesque" Aesthetic Paradigm

作　　者：黄若愚 Huang Ruoyu

机构地区：[1]太原理工大学艺术学院

出　　处：《美术》2022年第5期127-133,共7页Art Magazine

基　　金：山西省社科联重点课题“景观美学的重建与山西‘景村融合’模式研究”(编号:SSKLZDKT2021032)的阶段性成果。

摘　　要：“如画”是英国最为重要的美学范畴之一,对于西方18世纪乃至此后的自然审美和风景绘画都产生了深远影响。“如画”指向一种像画一样的自然之魅力,既展现出了对于自然的审美关注,也包含着与画类比的鉴赏取向,其形成与英国经验主义美学的兴起表里相依。经验主义美学在感性维度上对于自然审美属性的发现,为如画观念的形成提供了基本语境。经验主义美学对于想象之愉悦的探讨,为如画类比提供了理论支撑。而古典主义风景画对于自然魅力的感性凸显,则契合了英国经验主义美学所促成的自然审美趋向,从而为自然风景与风景绘画的关联和比较提供了参照范型。经由“如画”观念的过渡,欧洲风景绘画转向对于自然本身之美的表现,实现了从他律到自律的演变。"Picturesque" as one of the most important aesthetic categories in England had produced far-reaching effects on western natural aesthetics and landscape paintings in the 18 th century and even later. "Picturesque" refers to natural charms suited for a picture.The concept.not only conveys attention to natural aesthetics but also implies an appreciative orientation towards a painting analogy.The emergence of picturesque was closely related to the rise of the British empirical aesthetics.The recognition of the natural aesthetic attribute in eon an emotional dimension in empirical aesthetics provided a basic context for the emergence of the picturesque concept.The discussion of the pleasures of the imagination within the realm of empirical aesthetics offered theoretical support for picturesque analogy.The emotional highlights of classical landscape paintings on natural beauty happened to be consistent with the natural aesthetic tendency advocated by the British empirical aesthetics,thereby providing a reference paradigm for the association and comparison between natural landscape and landscape painting.With the transition underpinned by the picturesque concept,the European landscape paintings shifted towards the expression of the beauty of nature itself,fulfilling an evolution from a regulated state to a self-regulated state.

关 键 词：经验主义美学 如画 自然美 想象 古典主义风景画 

分 类 号：J209[艺术—美术]