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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/63494


    Title: 以魏晉六朝「自然山水觀」會通現代環境美學;Understanding Modern Environmental Aesthetics through the “View on Natural Scenery” of Wei Jin Period and the Six Dynasties
    Authors: 陳慶坤;Chen,Ching-Kuen
    Contributors: 哲學研究所
    Keywords: 環境美學;環境倫理學;突現美學;自然山水觀;審美意識;Environmental Aesthetics;Environmental Ethics;Emergent Aesthetics;View on Natural Scenery;Aesthetic Consciousness
    Date: 2014-01-20
    Issue Date: 2014-04-02 15:40:15 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 20世紀工業進步為人類創造前所未有的幸福,也為人類的發展開闢了極為光輝燦爛的前景。但隨著各國工業化加速發展,瘋狂地掠奪大自然的資源,造成環境品質不斷惡化,生態危機愈演愈烈,使我們生存的環境遇到前所未有的衝擊,甚至已經直接影響到人的生存和生活品質。處於經濟狂熱追逐中的人類開始認識到環境問題的嚴峻性。依此世界性發展脈絡來看,台灣生態環境的議題也正處於以功利主義掛帥的經濟成長迷失之中,美其名是促進經濟成長,實是進而戕害我們賴以生存的大地環境。只要我們依然如故,不重新思考對這片土地的倫理、良知,善盡生態環境保育的責任,那麼,人類在文明物質進步同時,若缺乏往回頭看與謙卑地思考,終將讓自己陷入「進步的陷阱」。
    從進化論的觀點言之,自然環境具有幫助人類,發展出適應環境的行為活動之觀點,以達到藉著與環境互動,產出有助於生存的文化方式。因此,環境美學核心的問題雖然是「自然美感」審美的問題,實則是因為自然環境具有審美的價值,而傳達出自然造化整體和諧感的審美現象。則此,人與自然如何建立整體和諧的關係,從環境倫理而言其目的在:(1)以環境美學的理論根據建立對自然的欣賞情懷;(2)再由此審美的模式推論,美學與倫理學的根源關係,為環境倫理與環境美學取得審美中介之依據。
    從這一議題面向而言,近代以來國內外美學研究者,一方面希望建構一門有如西方美學知識般的科學知識,另一方面也尋求一種適合於東方古典美學研究的方法。換句話說,在東西方文化中尋找「自然之美」,在東方的中國有著悠久的自然審美觀,從而創造出獨特的山水詩、山水畫的表現方式與審美情懷。這種審美意識與西方美學其後所發展出,以藝術美學作為自然審美模式的環境美學不同。
    中國自然美感的審美意識,是由人走向自然,自然比人更能體現宇宙無限的蓬勃生機;欣賞自然含蘊著藝術創作的主體與自然山水互動的靈思,達到物我感通、物我合一審美意境。因此,本文試圖從魏晉六朝時期的「自然山水觀」,會通西方自然環境的審美模式,以彌補其論述之不足。則此一研究顯然在我們與社會生存環境的互動過程中負有某種使命感,而這也正是環境倫理所秉持義理之所在。; The industrial advancement in the twentieth century brought mankind unprecedented happiness and opened up a bright future for the development of human beings. However, with the rapid development in industrialization of countries around the world, natural resources were plundered madly, leading to constant deterioration of environmental quality as well as ecological crises. These not only brought unprecedented impacts on our environment but also directly affected our quality of life and survival. Mankind pursuing economic growth madly began to realize the severity of environmental problems. From the context of such global development, the issue of ecological environment in Taiwan is also lost in the utilitarianism-based economic growth. It is said that the economy is being promoted but, in fact, the land and environment we rely on for survival are being mutilated. If we continue such behavior, not reconsidering the ethics and conscience toward this land and the responsibilities in conserving the ecological environment, and if we do not look back and think matters through humbly, we would be allowing ourselves to be mired in the “trap of progression” with the advancement of civilization and material.
    From the aspect of evolutionism, the natural environment can help man development behavioral actions for adapting to the environment, which create cultural patterns helpful to survival through interaction with the environment. Thus, although the core problem of environmental aesthetics is the issue of appreciation for “natural beauty”, the aesthetic for the overall harmony of the nature is conveyed because the natural environment has its aesthetic value. From the view of environmental ethics, the purposes for man to establish an overall harmonized relation with nature include: (1) develop a sense of appreciation toward nature based on the theory of environmental aesthetics; (2) induce through this appreciation model the origin of the relation between aesthetics and ethics in order to determine the basis of aesthetic medium for environmental ethics and environmental aesthetics.
    Regarding this issue, domestic and foreign aesthetics researchers not only hope to establish a scientific knowledge similar to the knowledge on western aesthetics, but also seek a research method which suits eastern classic aesthetics. In other words, they seek the “beauty of nature” in both eastern and western cultures. The long history of aesthetic appreciation of nature in China gave rise to the unique aesthetic feelings and expressions of landscape poetry and painting. Such aesthetic consciousness and western aesthetics were developed afterwards and are different from environmental aesthetics which adopts art aesthetics as the model of nature appreciation.
    Chinese aesthetic consciousness of natural beauty is that man striding toward nature as nature can embody the infinite vigorous vitality of the universe better than man. Nature appreciation contains the subject of art creation and the inspiration of natural scenery interaction, achieving the aesthetic prospect of object and subject as one, as well as the concept of mental interaction between object and subject. Therefore, this study attempts to understand the western aesthetic model toward the natural environment through the “views on natural scenery” from Wei Jin Period and the Six Dynasties to supplement to the insufficient part of descriptions. This study obviously bears a certain mission in our interaction with the social environment, and this is exactly the righteousness and argumentation of environmental ethics.
    Appears in Collections:[哲學研究所] 博碩士論文

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