中国山水画论如何回应“如其本然地欣赏自然”命题

How to Response the Proposition of“Appreciating Nature on Its Own Terms”by the Aesthetics of Chinese Landscape Painting

当代环境美学一直高度关注对自然的审美欣赏问题。齐藤百合子的《如其本然地欣赏自然》一文旨在引导人们欣赏自然的本然面目,即真实的自然或自然本身。虽然她对艾伦·卡尔森的自然审美理论有所改进,但其研究范围仍然囿于科学认知主义,依然没有完全回答如何"如其本然地欣赏自然"这个核心问题。中国山水画美学包含着一套比较系统的自然审美思想,诸如"真"的本体论根源(生生本体论)、"体真"的途径(澄怀味象)、"写真"的方法(以一管之笔,拟太虚之体)。由此可见,中国自然审美思想可以从一个侧面比较全面地回答"如其本然地欣赏自然"问题,对当代环境美学构建的意义与价值是显而易见的。

The question of aesthetic appreciation of nature has been one of the key issues in contem- porary environmental aesthetics. Yuriko Saito＇s essay, ＂Appreciating Nature on Its Own Terms＂, aims at guiding appreciators to appreciate the real nature or nature itself. Although she improves Allen Carlson＇s nature aesthetic theory to some extent, she still confines her ideas in the scope of scientif- ic eognitivism and fails to answer the core question of how to appreciate the real nature. Through a systematic summarization of the aesthetics of Chinese landscape painting, we can find a Chinese no- tion of nature aesthetic appreciation including three aspects： the origin of the ＂reality＂ of nature （i. e. the ontology of producing life）, the way to experience the ＂reality＂ of nature （i.e. tasting image with purified heart）, and the way to depict the ＂reality＂ of nature （i.e. simulating the function of the Great Void with one reed brush）. These three aspects can answer the question of appreciating nature on its own terms in a comprehensive way and can provide enlightenment for the construction of contemporary environmental aesthetics.