“自然美” 何以可能及其作为 “问题” 的理论启示

How "Natural Beauty" Is Possible and Its Theoretical Implications as a "Problem"

摘要:

作为美学发展史中的元命题和关切人类生存实践活动的观念范畴, “自然美” 因其自身无法消 除的 “价值” 倾向从来不曾、 也不可能 “科学” 地言说。 “自然美” 成为问题既因 “自然” 概念的歧义性, 又缘于不断更新变化的美学与生活等 “现实” 因素。 “自然美何以可能” 是从存在方式上探讨自然美的核心 议题, 它的另一面相即自然的 “审美模式”, 在学界已有且通行的 “如画模式” “比德模式” “天成模式” 和 “宇宙模式” 等基础上, 还可以 “文化记忆” “共情体验” “人的力量” “介入选择” 等模式作为补充与 丰富, 其所体现的核心是人在自然美形成中的基础作用、 变化形态和 “言说” 方式。 探讨自然美 “问题” 具有强烈的现实诉求和理论启示, 主要体现在: 其一, 能够有效拓展、 更新、 反思美学学科以及现实 “自 然” 对象及概念的流动感知内涵; 其二, 以 “平等” 为核心的价值观念, 有力冲击、 平衡着以 “自由” 为 最高原则的美学及审美活动本质的论调; 其三, 有效消解美学史中长期并存的 “自然美” 与 “艺术美” 孰 高孰低的选择性悖论和等级制观念; 其四, 以回到 “物” 自身的方式体现出对人与自然和谐统一关系的再 辨识、 再体认, 最终有力维护人之理性与感性等统一的完整性, 表征对人之现存经验的高度关切和人之超越 超验的形而上构建。

Abstract:

As a basic proposition in the history of aesthetics and a conceptual category concerned with the practical activities of human existence, _"Natural Beauty_" has never been and cannot be _"scientifically _"stated because of its own ineradicable _"value tendency_". _"Natural beauty _"has become a _"problem_", not only because of the ambiguity of the concept of _"nature_", but also because of the constantly changing_" realities_" of aesthetics and life. _"How natural beauty is possible_" is a central theme in the exploration of Natural Beauty in terms of ways of being, the other side of which is the_"aesthetic mode_" of nature. This article is based on the _"Picturesque model _",the_" Cohesive moral model _",the _"Nature model _"and the _" Cosmic model _",supplemented by the _"Cultural Memory_",_"Empathic Experience_",_"Human Power _"and _"Intervene Selection _"models. The core of these models is the fundamental role of the human being in the formation of natural beauty, its changing forms and the ways in which it is_"spoken _". The_"problem _"of natural beauty has both practical and theoretical significance. First ,it can effectively expand, renew and rethink the discipline of aesthetics and the connotations of real _"natural_" objects and concepts. Secondly, the core value of_"equality_"is a powerful counterweight to the argument that _"freedom_" is the highest principle of aesthetics and aesthetic activity. Thirdly, it effectively dispels the paradox of selectivity and hierarchy between _"Natural Beauty_" and_"Artistic Beauty_" that has long existed in the history of aesthetics. Fourthly ,by returning to _"Nature _"itself, it embodies the rediscovery and recognition of the harmonious and unified relationship between man and nature ,and strongly upholds the unity of man_'s reason and sensibility ,etc. It is a high concern for man?s existing experience and a metaphysical construction of man_'s transcendental transcendence.