湿地之美:遮蔽与彰显

The Beauty of Wetland:The Covering and Displaying

山脉曾经和湿地一样是令人恐惧和深恶痛绝的对象,然而,在现代山水画的影响下,山脉之美已得到一定程度的彰显,而湿地在美学上仍然是邪恶、丑陋的象征。美国环境哲学的三个代表性人物梭罗、缪尔和利奥波德都表达过对湿地的审美欣赏,但他们的角度各有不同。对梭罗和缪尔来说,湿地之美很大程度上取决于他们对花卉和荒野的兴趣,而利奥波德对湿地的审美欣赏则更多地从自然历史和生态学中得到启示。例如,他认为鹤作为湿地动物比其他美国大型鸟类更古老,这种进化信息和理论视角增强了我们对它们的审美体验。同时,湿地物种之间的生态关系如泥炭苔藓、美洲落叶松和猪笼草等形成了我们对湿地生态共同体的审美体验。利奥波德的大地审美涉及所有的感官模式,强调认知和感觉。在这方面,它更类似于音乐美学,而不是绘画美学。

Mountains used to be as frightening and hateful as wetlands,but their beauty has been displayed to a certain extent under the influence of modern landscape painting,while wetlands are still an aesthetic symbol of evil and ugliness.Though Thoreau,Muir and Leopold,three representatives of American environmental philosophy,all once expressed their aesthetic appreciation of wetlands,their perspectives were different from each other.For Thoreau and Muir,the beauty of wetlands depends largely on their interest in flowers and wilds,while Leopold draws more inspiration for aesthetic appreciation of wetlands from natural history and ecology.He argues,for example,that cranes as wetland animals are older than other large American birds,and that the evolutionary information and theoretical perspective enhance human aesthetic experience of cranes.At the same time,the ecological relationships among wetland species such as the beneficial connection of sphagnum moss,Larix laricina and Nepenthes mirabilis form our aesthetic experience of wetland ecological community.Leopold’s land aesthetic involves all sensory modes and emphasizes cognition and sensation.In this respect,it is more similar to music aesthetics than to painting aesthetics.