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生态审美作为一种新的审美方式,被看作是对艺术美学无功利性审美方式的突破。但事实并非如此。艺术审美从来就不是纯粹无功利的,即使奠定审美无功利性这一质的规定性的康德,也不得不承认艺术审美包含着深层的功利性内容。其实,功利性的生态审美,既无利于保持审美的独立性,也无利于进行生态保护,存在着理论和现实的双重悖论。相反,纯粹的无功利性的审美才真正是有利于生态的。生态审美的真正创新,不是从无功利性向功利性的突破,而是从深层的功利性向纯粹的无功利性的飞跃,是纯粹无功利性审美的真正实现。
As a new aesthetic way, ecological aestheticism is regarded as a breakthrough in the non-utilitarian aesthetic way of artistic aesthetics. but it is not the truth. Art aesthetics has never been purely utilitarian. Even Kant, which establishes the qualitative nature of aesthetic utilitarianism, has to admit that aesthetic art contains deep utilitarian content. In fact, utilitarian ecological aesthetic, neither conducive to maintaining the aesthetic independence, but also not conducive to ecological protection, there is a double paradox of theory and reality. On the contrary, the pure non-utilitarian aesthetics really benefits the ecology. The true innovation of ecological aesthetics is not a breakthrough from utilitarianism to utilitarianism, but a leap from deep utilitarianism to pure non-utilitarianism, which is the true realization of pure non-utilitarian aesthetics.