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苏祖荣. 生态美学:静观美学与参与美学的时代交汇生态美学与传统静观美学比较分析[J]. 北京林业大学学报(社会科学版), 2020, 19(2): 26-32. DOI: 10.13931/j.cnki.bjfuss.2019134
引用本文: 苏祖荣. 生态美学:静观美学与参与美学的时代交汇生态美学与传统静观美学比较分析[J]. 北京林业大学学报(社会科学版), 2020, 19(2): 26-32. DOI: 10.13931/j.cnki.bjfuss.2019134
SU Zu-rong. Ecological Aesthetics: the Intersection of the Times of the Aesthetics of Contemplation and the Aesthetics of Participation−A Comparative Analysis of Ecological Aesthetics and Traditional Aesthetics[J]. Journal of Beijing Forestry University (Social Science), 2020, 19(2): 26-32. DOI: 10.13931/j.cnki.bjfuss.2019134
Citation: SU Zu-rong. Ecological Aesthetics: the Intersection of the Times of the Aesthetics of Contemplation and the Aesthetics of Participation−A Comparative Analysis of Ecological Aesthetics and Traditional Aesthetics[J]. Journal of Beijing Forestry University (Social Science), 2020, 19(2): 26-32. DOI: 10.13931/j.cnki.bjfuss.2019134

生态美学:静观美学与参与美学的时代交汇生态美学与传统静观美学比较分析

Ecological Aesthetics: the Intersection of the Times of the Aesthetics of Contemplation and the Aesthetics of Participation−A Comparative Analysis of Ecological Aesthetics and Traditional Aesthetics

  • 摘要: 传统静观美学以艺术为主要审美对象,而生态美学试图从此转向一个比艺术和人类社会更大的审美领域−地球生物圈或自然生态系统。而这种审美对象的生态转向,必然会使传统静观美学的审美主题、手段、模式、方式和目标发生改变。但生态美学显然不排除传统静观美学模式,而是在传统静观美学模式框架下向前一步,通过比较分析,二者可以相互借鉴,取长补短,去伪存真,从而实现静观美学与参与美学的时代交汇与契合。

     

    Abstract: The traditional aesthetics of contemplation takes art as its main aesthetic object, while the ecological aesthetics tries to turn to a larger aesthetic field than art and human society: the earth biosphere or natural ecosystem. This kind of ecological turn of aesthetic object will inevitably change the aesthetic theme, means, mode, way and goal of traditional aesthetics of still view. However, the ecological aesthetics obviously does not exclude the traditional aesthetic model of still view, but takes a step forward under the framework of the traditional aesthetic model of still view. Through comparative analysis, the two can learn from each other, learn from each other’s strengths and make up for their weaknesses, eliminate the false and save the true, so as to achieve the convergence and fit of the times of still view aesthetics and participation aesthetics.

     

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