چکیده:
Not much time has passed since the emergence of environmental aesthetics, such that the roots and origins of environmental aesthetics can be observed in the new theoretical tendency toward the aesthetics of nature, which appeared almost in the middle of the twentieth century. The author first addresses the historical roots of environmental aesthetics from the eighteenth century to the present and then, with a historical and analytical perspective, examines the relationship between analytical aesthetics, philosophical aesthetics, and environmental aesthetics. He briefly explains the reason for the emergence of environmental aesthetics as follows: analytical aesthetics, by treating philosophical aesthetics and the philosophy of art as identical, reducing the aesthetics of nature to the aesthetics of art, and neglecting the aesthetic perception of nature, provoked reactions aimed at establishing the independence of environmental aesthetics. It is obvious that in order to create a new theoretical domain as environmental aesthetics, one cannot rely on the same approach that forms the basis of analytical aesthetics. For this reason, there is a need for other perspectives that can be called interactive aesthetics or the cognitive approach.
خلاصه ماشینی:
What we mean by this transformation is the shift from the old idea and understanding of the disinterested observation of the sensory and formal qualities of a single, separate art object, to a new paradigm of engagement with an artistic-cultural work that is emotionally and cognitively rich, has been consciously created by a reason that imposes order, follows the historical traditions of art and methods of art criticism, and is deeply rooted in the multidimensional and complex world of art.
This awareness itself became problematic because, assuming the transformations that occurred in philosophical aesthetics, those who were attentive to the aesthetics of the whole world, apart from the previous paradigm of observing sensory and formal qualities, dealt with only a few theoretical resources.
On one hand, those seeking to address issues related to the aesthetic state of the environment (such as landscape designers, environmental planners, and natural landscape experts) engaged in assessment and planning and employed design methods that were often focused on the sensory and formal qualities of spectacular effects (Lytton 1968).
By this, we mean a paradigm that, by emphasizing the breadth of the environment and the natural surroundings and the importance of our understanding and perception of it, facilitates the aesthetic experience of the natural world, which is emotionally and cognitively rich like the aesthetic experience of art.
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