杨璐 彭诚

摘 要：在传统美学的影响下，对色彩的研究多基于色彩学和色彩心理学，导致在理解和运用色彩时趋于公式化，不能很好地反映出色彩与人之间存在的丰富情感关联。新美学的到来，审美日常化趋势下，迫切需要从更广的层面探讨色彩。气氛现象学重视身体和环境的共同在场性，突破了主客体二元论的限制，借助这一语境，色彩得以被置入到人与环境的关系中进行研究。在气氛美学理论中，气氛被描述为具有情感基调的空间，色彩可以从物绽出，为空间定调，成为气氛的营造者，进入空间的人在整体性感官的统摄下与空间的情调达成共振。色彩不再只是物的属性，而具有了空间性和感染力，这为色彩的研究和应用提供了新的视角。

关键词：气氛；现象学；美学；色彩

Abstract： Under the influence of traditional aesthetics， studies on color have often been grounded in chromatics and color psychology， leading to a tendency towards formulaic understanding and application of color， which fails to adequately reflect the rich emotional associations between color and human experience. With the advent of new aesthetics and the trend towards the normalization of aesthetics， there is an urgent need to explore color from a higher level. Phenomenology of atmosphere emphasizes the co-presence of the body and the environment， transcending the limitations of subject-object dualism. With this context， color is studied within the relationship between humans and their environment. In the theory of atmospheric aesthetics， atmosphere is described as a space with an emotional tone， where color can emerge from objects， set the tone for space， and become the creator of atmosphere. People entering the space resonate with the mood of the space under the auspices of holistic sensory perception. Color is no longer just an attribute of objects but has spatiality and infectiousness， providing a new perspective for the study and application of color.

Keywords： Atmosphere；phenomenology；aesthetics；color

基金项目：2022年湖南省教育科学研究课题“视知觉形式动力理论下美丽乡村色彩体系的创新研究”（项目编号：22C0856）。

0 引言

气氛美学是新美学流派中的代表，以往的美学侧重评价和判断，忽略了感受，违背了美学感性和自然的性质。而气氛美学主张摆脱主客体二元论，着眼于共同在场的身体和环境之间产生的动态关联，使美学回到了其原初释义，即感知（Wahrnehmung）。

在审美需求逐渐普遍化的趋势下，气氛美学重视人的身体经验性感知这一特点，使其在当代审美工作中更具优势。当今，包括景观艺术、游戏、舞台设计、服装设计在内的诸多领域，引入气氛美学概念作为其研究的理论依据，取得了众多成果。……