*大家好ヾ(′???`)。我是大樓的車(chē)庫(kù)保安小黃。我很熱愛(ài)自己的工作。經(jīng)由不斷地與在會(huì)員制餐廳工作的田所老師討論有關(guān)?Art的話(huà)題，發(fā)現(xiàn)這個(gè)東西甚至比雪還要雪（悲）?！敲次覀儽惆l(fā)現(xiàn)雪這個(gè)東西其實(shí)很厲害，它來(lái)源于生物體，終又化作春泥更護(hù)花。我一個(gè)小小保安便想，比起向天再借五百年，不如棲居在保安亭的躺椅上，咀嚼生物性意義上為人的奧秘，勵(lì)志像研究宇宙萬(wàn)法的源頭如如一樣去探究它的秘密。

接下來(lái)本保安可能會(huì)陸陸續(xù)續(xù)翻譯一些此方向相關(guān)的文章，該文章為此想法開(kāi)始第一篇，屬于是開(kāi)局來(lái)力個(gè)大的，鍥而不舍翻了快一個(gè)月(????)，總之，隨緣。如有不妥請(qǐng)隨時(shí)給我上出打擊樂(lè)。

*因譯者個(gè)人水平問(wèn)題故將譯文與原文對(duì)照釋出，

便于各位更好地理解作者原意。

*歡迎各種討論交流，請(qǐng)?jiān)谠u(píng)論區(qū)留言，我會(huì)好好工作，

抬桿出車(chē)（非抬杠）。

解釋視覺(jué)審美欣賞的嘗試 Ⅰ

An Attempt to Explain Visual Aesthetic Appreciation

目錄（譯者自添，便于對(duì)照閱讀）

（一）輯：摘要 / 緒論 / 審美行為

（二）輯：大腦的情緒模塊（獎(jiǎng)懲機(jī)制 / 超常刺激）

（三）輯：動(dòng)物和早期智人的審美行為

（四）輯：審美元素Ⅰ（顏色 / 復(fù)雜度和流暢度 / 對(duì)稱(chēng)與平衡 ）

（五）輯：審美元素Ⅱ（功能性 / 景深與動(dòng)感 / 人為因素） / 討論

摘要?（Abstract）

我們通過(guò)探究（生物）進(jìn)化的角度來(lái)解釋為何視覺(jué)攝入作為人類(lèi)審美機(jī)制的一方面如此重要。簡(jiǎn)單來(lái)說(shuō)，人類(lèi)在進(jìn)化過(guò)程中，會(huì)經(jīng)歷諸如滿(mǎn)足感和受制裁云云的生活狀態(tài)，情緒也會(huì)隨之在積極與消極間變化。逐漸地，人們也會(huì)去主動(dòng)追求能夠誘發(fā)滿(mǎn)足感的情景，即便有的感覺(jué)不足以被稱(chēng)作是“滿(mǎn)足感”。當(dāng)一個(gè)人受到某種類(lèi)型的視覺(jué)刺激時(shí)，大腦會(huì)產(chǎn)生滿(mǎn)足感。例如：暖色調(diào)會(huì)讓人聯(lián)想到可口的水果，因而通常讓人愉悅；復(fù)雜的圖式會(huì)激發(fā)好奇心。在某一時(shí)刻，人類(lèi)開(kāi)始了如何能激發(fā)大腦滿(mǎn)足感的探索，對(duì)物品進(jìn)行有意識(shí)地美化，創(chuàng)造“藝術(shù)”。物品的實(shí)用性和（基于物品本身的）設(shè)計(jì)聯(lián)想的會(huì)影響物品的最終樣貌呈現(xiàn)，而藝術(shù)家們更傾向添加審美元素。這些元素在體現(xiàn)了視覺(jué)方面在實(shí)用性上不強(qiáng)，也不能喚起什么記憶或者讓人就圖像中易于辨識(shí)的形象產(chǎn)生什么聯(lián)想。因而，我們需要去討論審美元素究竟能提供什么滿(mǎn)足感及相應(yīng)的溯源，這理論上能在解釋人類(lèi)的審美機(jī)制上起些作用。

We suggest an evolutionary based explanation for why humans are preoccupied with aesthetic aspects of visual input.Briefly, humans evolved to be swayed by positive and negative feelings in the form of rewards and punishments, and to pursue situations that induce rewards, even when the feeling is not sufficiently strong to be recognized as a reward.?The brain is designed to offer rewards when a person focuses on certain types of visual stimuli. For example, warm colors are typically pleasant because they are associated with edible fruits, and complex images appeal to curiosity.?At some point people began exploiting these types of brain rewards by beautifying objects and creating art. The utility of objects, and the associative (or communicative) aspects of art, may dominate the design, but the artist tends to add aesthetic elements.These elements imply visual aspects that do not add to the functional value or evoke memories or associations based on easily recognized features in the picture. The adaptive rationale for the rewards offered by the aesthetic elements should help explain human aesthetic appreciation.

緒論?（Introduction）

古人類(lèi)逐漸進(jìn)化為直立行走的形態(tài)，因而他們能解放雙手使用工具。毫無(wú)疑問(wèn)，使用工具的能力是人類(lèi)走向未來(lái)相當(dāng)重要的一環(huán)。但尚不明晰的是，為何就算無(wú)法提升功用，但（至少當(dāng)前被廣泛認(rèn)為是）為了增添情趣，我們的祖先開(kāi)始愿意裝飾自己的工具。并且到最后，人類(lèi)將這種對(duì)審美的興趣發(fā)展到了更遠(yuǎn)大的地步：創(chuàng)造出并沒(méi)有明顯使用價(jià)值，而能夠被稱(chēng)之為“藝術(shù)”的東西。或許藝術(shù)家們會(huì)宣稱(chēng)藝術(shù)作品是一種交流的方式——但問(wèn)題在于，對(duì)于這個(gè)目的增添的審美屬性似乎也并非是必須的。在本文中我們需要關(guān)注的是審美屬性，而非所謂的藝術(shù)在促進(jìn)交流和鏈接溝通上的作用。

Hominins gradually evolved to walk in an upright position, thereby freeing their hands for the manipulation of tools. There is no doubt that the ability to use tools was of great importance for the success of humankind. It is less obvious why our forebears started to add beauty to their tools in ways that did not enhance utility but were widely recognized as pleasing.Eventually, humans moved one step further in that we create objects of art with no obvious practical value. The artist may claim that the work is meant as a way of communicating, but the point remains that aesthetic qualities are added that do not appear to be required for this purpose.Here we focus on these aesthetic qualities rather than the function of art in facilitating communication and creating associations.

美學(xué)被稱(chēng)作“研究感官刺激如何以及為何能獲取享樂(lè)價(jià)值的學(xué)說(shuō)” (Skov & Nadal, 2020)）——這意味著需要對(duì)視覺(jué)刺激的特征進(jìn)行考證，這也包含審美元素通過(guò)某種方式激活大腦中的獎(jiǎng)勵(lì)回路的刺激。因而，進(jìn)行審美行為意味著：為了獲得滿(mǎn)足感，人類(lèi)會(huì)調(diào)配自己的時(shí)間和精力，進(jìn)入到（具有審美效力的）工藝品生產(chǎn)中，或者欣賞此類(lèi)工藝品的活動(dòng)。在人類(lèi)學(xué)研究中，有一些審美行為幾乎在所有的文化中都不約而同地出現(xiàn)，并且，據(jù)當(dāng)下有相當(dāng)說(shuō)服力的研究表明，它們屬于根植于人類(lèi)天性的傾向(Benton & DiYanni, 2012)。既然這能夠?qū)⒃搯?wèn)題引向人類(lèi)的普遍屬性，那么，滿(mǎn)足機(jī)制或許也能被看作是由人類(lèi)天生的刺激機(jī)制進(jìn)化而來(lái)的；那么，我們也需要直接關(guān)切這些在我們進(jìn)化史中極具適應(yīng)更新性的感官輸入形式。

Aesthetics has been described as “the study of how and why sensory stimuli acquire hedonic value” (Skov & Nadal, 2020) – which means it is a question of features of visual stimuli, here referred to as aesthetic elements, that for some reason activate reward circuits in the brain. Aesthetic behavior is then allotting time and energy to the production of aesthetic artifacts, or viewing such artifacts, for the sake of the rewards offered. Some form of aesthetic behavior seems to be present in practically all cultures examined by anthropologists (Benton & DiYanni, 2012), strongly suggesting that the behavior is rooted in innate tendencies. ?As it appears to reflect a universal human attribute, the reward mechanisms presumably evolved in accordance with stimuli coming from nature; that is, directing attention to these types of sensory input was adaptive in our evolutionary past.

在今天，并非每一個(gè)人都能攫取到由審美行為帶來(lái)的什么適應(yīng)成果，不過(guò)一種進(jìn)化論的視角是能夠幫助為這種確乎出現(xiàn)的現(xiàn)象做出解釋的。當(dāng)下，已經(jīng)有些文章用進(jìn)化論的觀點(diǎn)來(lái)剖析美學(xué)了(Davies, 2012; Grinde, 1996; Kozbelt, 2017; Rolls, 2017; Westphal-Fitch & Fitch, 2018),我們覺(jué)得這種方法可以提供新穎的見(jiàn)解。這種研究思路和享樂(lè)主義美學(xué)流派相契；具體來(lái)說(shuō)，對(duì)審美價(jià)值的研究關(guān)心的是如何讓觀者獲得愉悅的問(wèn)題。(Matthen, 2017)我們也了解到了對(duì)這一流派的批評(píng)。(Van der Berg, 2020)然而，我想，可以通過(guò)以下兩個(gè)概念的進(jìn)一步限定來(lái)回應(yīng)對(duì)享樂(lè)主義流派的主要質(zhì)疑：

一、就大腦回路中產(chǎn)生滿(mǎn)足感和愧疚感的情緒模塊如何運(yùn)作的問(wèn)題，我們采用了新的解釋?zhuān)敲础坝鋹偂保╬leasure）一詞似乎也被賦予了更廣泛的含義。(Grinde, 2016)

二、我們需要重新限定“審美行為”（aesthetic behavior）一詞的內(nèi)涵——這也是我們接下來(lái)即將討論的東西。

Today the individual does not necessarily obtain any adaptive benefit from aes- thetic behavior, yet an evolutionary perspective can help explain the phenomenon. Several texts have used an evolutionary perspective to explain aesthetics (Davies, 2012; Grinde, 1996; Kozbelt, 2017; Rolls, 2017; Westphal-Fitch & Fitch, 2018), we believe the present approach offers novel insight. The approach is in line with what has been described as the hedonic school of aesthetics; specifically, the aesthetic value is a question of pleasing the viewer (Matthen, 2017). We are aware of critics of this school (Van der Berg, 2020), but believe the main objections to the hedonic approach are considered by the following two constraints. For one, we take advantage of a novel understanding of how the mood modules, the brain circuits that form rewards and punishments, function; in other words, the term pleasure is given a somewhat broader meaning (Grinde, 2016). Two, we restrict what is included in the term ‘a(chǎn)esthetic behavior’ – as will be discussed below.

審美行為?（Aesthetic Behavior）

觀賞類(lèi)審美活動(dòng)的滿(mǎn)足感可以從自然中獲得，因而就像花上一小會(huì)欣賞成熟的草莓，或是品味日落之美，這都可以被構(gòu)建為一種審美行為。但在本文中，我們將研究范圍限制在“人造物”中。

The rewards of viewing aesthetic elements can be obtained from nature, thus spending time staring at a ripe strawberry or a sunset can be construed as aesthetic behavior. However, we shall limit the scope of this text to manmade objects.

再作進(jìn)一步限制：我們關(guān)心的是人造物中，那種微妙的，能呈現(xiàn)出交互性和具有代表性的“審美屬性”。這樣限定盡管還是有些模糊，但至少可以基本排除由簡(jiǎn)單活動(dòng)而非審美活動(dòng)帶來(lái)的愉悅。當(dāng)藝術(shù)家想傳遞“快樂(lè)”，或許他們會(huì)使用能承載善意的的審美元素；具象的內(nèi)容也對(duì)我們的審美能力形成有所影響。同時(shí),我們也相信在沒(méi)有主旨含義的人造物上，也會(huì)有一些帶有審美內(nèi)核的元素在起作用?？傊?，盡管“藝術(shù)”會(huì)觸發(fā)各種機(jī)制，導(dǎo)致一系列情緒和感受的發(fā)生(Menning- haus et al., 2019; Schindler et al., 2017; Tinio & Gartus, 2018)，我們?cè)诖艘接懙氖敲缼?lái)的直觀愉悅。如此限制還可以排除對(duì)“審美對(duì)象”產(chǎn)生興趣的其他原因，例如：其貨幣價(jià)值、社會(huì)地位及其潛力等。

There is one further constraint, we are interested in the subtle aesthetic qualities that are present regardless of the communicative or representative content.This constraint excludes at least some of the pleasure of seeing a nice landscape or a friendly face, but the restriction is somewhat vague. If artists want to communicate joy, they may use bona-fide aesthetic elements; and figurative content has some bearing on how our capacity to enjoy aesthetics was formed.Yet, we believe there are core aesthetic elements that work in the absence of other subject matter. In short, although art can induce a range of emotions and feelings by various mechanisms (Menning- haus et al., 2019; Schindler et al., 2017; Tinio & Gartus, 2018), we are interested in the intuitive pleasures of beauty.The constraint also excludes other reasons for taking an interest in aesthetic objects, such as the potential for obtaining high status in society and the monetary value of the objects.

需要做以上這般細(xì)致限定，可以反映出審美行為與人類(lèi)行為的其他方面必然相生相和，無(wú)法孤立。宗教行為也伴隨著審美活動(dòng)：這些行為不僅僅是為求得與超自然實(shí)體的聯(lián)系，以宗教藝術(shù)形式進(jìn)行的交互和審美行為也包含其中。

The above delineation reflects that aesthetic behavior is necessarily mixed in with other aspects of human behavior. There is a parallel in religious activities, they are not solely about connecting with supernatural entities, but includes, for example, socializing as well as aesthetic behavior in the form of religious art.

現(xiàn)已有充分的研究表明藝術(shù)可以帶來(lái)快樂(lè)(Lacey et al., 2011; Skov, 2010; Vartanian, 2018)，在此基礎(chǔ)上，我們?cè)賮?lái)假設(shè)愉悅中經(jīng)過(guò)上述限制后的美學(xué)元素派生出的部分。相比實(shí)際的藝術(shù)作品（因?yàn)樾蜗蠡蚵?lián)想內(nèi)容在藝術(shù)中更加重要），這些元素或許在“容器”的設(shè)計(jì)（比如花瓶或房屋）中體現(xiàn)得更加明顯，不過(guò)這套適用于制陶工人的原則同樣也能為畫(huà)家所用。審美傾向反映在使物體看起來(lái)更據(jù)視覺(jué)吸引力的特質(zhì)上。以繪畫(huà)為例，比喻式內(nèi)容的重要性暗指當(dāng)前的文本關(guān)注到的可能只是審美欣賞中一個(gè)非常小的部分：無(wú)論身處何方，我們天生的傾向都會(huì)去享受一些特定程式傾向的視覺(jué)輸入。這就好像就算沒(méi)有任何的審美特特質(zhì)，欣賞一幅畫(huà)也能帶給我們愉悅的體驗(yàn)；例如，不需要任何藝術(shù)創(chuàng)作技巧，也能創(chuàng)作出一張讓男人感到快樂(lè)的裸女像。

It has been reasonably well documented that art can induce pleasure (Lacey et al., 2011; Skov, 2010; Vartanian, 2018), and we assume that some of the pleasure derives from aesthetic elements that remain after the above restrictions.?These elements may be more obvious in the design of utensils, such as vases or houses, compared to in actual works of art (because the figurative or associative content is more important in art), but the principles guiding the potter also apply to the painter. Aesthetic intention is reflected in features included to make an object more visually attractive. In the case of paintings, the importance of the figurative content implies that the present text focuses on what may be a minor aspect of the appreciation of art: Our inborn tendency to enjoy specific types of visual input regardless of the context they are in. It follows that a painting can be pleasurable to look at in the absence of any aesthetic qualities; for example, no artistry is needed to make a rendering of nude women that delights a man.

至此，我們將從勾勒大腦如何以獎(jiǎng)懲機(jī)制來(lái)激勵(lì)形成行為的模型開(kāi)始，并基于該模型，考察審美行為是否也在其他物種中出現(xiàn)，（如果沒(méi)有）那么，這是什么時(shí)候開(kāi)始在古人類(lèi)身上顯現(xiàn)的？隨后，我們會(huì)提出大體屬于美學(xué)討論范疇的感官刺激機(jī)制的繁多特征。

We shall start by outlining a model of how the brain uses rewards and punish- ments to motivate behavior. Based on this model, we consider whether aesthetic behavior occurs in other species, and (if not) at what point it emerged in the homi- nins. Subsequently, we suggest various features of visual stimuli that are likely to be involved in aesthetics.

*作者信息：

Bj?rn Grinde

奧斯陸大學(xué)科學(xué)博士（1981）細(xì)胞和分子生物學(xué)哲學(xué)博士（1984），當(dāng)前為挪威公共衛(wèi)生研究所精神和身體健康部門(mén)的高級(jí)科學(xué)家。

Tammy?Ann Husselman

中央蘭開(kāi)夏大學(xué) (UCLAN)神經(jīng)心理學(xué)理學(xué)（榮譽(yù)）學(xué)士，心理學(xué)碩士。目前在 UCLAN 擔(dān)任高級(jí)演示員，《啟用技術(shù)雜志》(JoET)?客座編輯。

*譯/校/編：

車(chē)庫(kù)保安亭小黃

（已與原作者取得聯(lián)系與翻譯許可。）

*原文傳送門(mén)：

https://link.springer.com/article/10.1007/s12124-022-09701-8