艺术的存在论意蕴与生态存在论美学观的确立——从海德格尔的思想历程看艺术与生态美学观的关系

Implication of Artistic Existentialism and Establishment of the View of Ecological Aesthetics——A View of the Relation of Art to Ecological Aesthetics in Terms of Hedgel's Course of Thinking

从工具到艺术作品最终到凝聚天地神人四方为一体的“物”,在这样一个思想历程之中,海德格尔的思想走入了四方游戏的大道之境,是艺术指引着海德格尔,也是艺术使他摆脱了本质主义的思想方法。如果说是海德格尔为生态美学奠定了存在论根基的话,那么艺术就是这一根基的基石。在此我们把艺术作品的存在论性质上升为一种对待世界的方法,这就使得艺术作品与生态存在论之间具有天然的联系。艺术作品的存在论性质是通向生态存在论的现实道路,以对待艺术作品的方式对待自然与一切存在者,是建构理想生态关系的起点,艺术是生态论美学观的基石。

Having followed a long path of sinuous contemplation, Hedgel＇s thinking attained the highest realm of his doctrine in which it could travel freely from part to part of the world. What guided Hedgel to the summit of his philosophy and out of the dead end of essentialism was none other but art. It was existentialism that laid the foundation for Hedgel＇ s establishment of ecological aesthetics. And the corner-stone of this foundation was art. According to this consideration, existentialism with regard of artistic works was upgraded to a way of treating the world in essence, which associated artistic works naturally to ecological existentialism. The existential nature of artistic works a realistic path to ecological existentialism as the starting point of developing ideal ecological relationship.