审美距离：今日忽从江上望，始知家在画图中 Aesthetic Distance

今天，为大家抄录一首我所喜爱的小诗：清代女诗人郭六芳的《舟还长沙》：

侬家家住两湖东，

十二珠帘夕照红。

今日忽从江上望，

始知家在画图中。

人生很多的美只有在离开后的回归才能欣赏。诗人也是离开后的回归中发现自己湖边的家是如此如诗如画般美丽。
这里讲究的是整体的，与自然交融一体的美，这样的审美效果，只有通过一定的距离，通过“隔”的视觉效应，才能把握，反过来也正反映了这种整体观，自然观和与自然的合一观。这与西方美学不同，一位西方哲学家美学家说，一个艺术品从山上滚到山下，还是美的，把艺术看成一种独立的东西。
这首诗也很好的体现了审美中所谓的距离效果。因为隔江相望，有了空间距离，并且是透过江上烟波相望，平常的景物就变得格外美丽了。

The term "aesthetic distance" was coined by Edward Bullough (1880-1934) in 1912.
According to Bullough, a person is "over-distanced" when their perspective becomes too "cold" and "withdrawn" - resulting in a failure to be sufficiently involved with the works' emotional appeal to properly understand or relate to it. On the other hand, a person can become "under-distanced" when their view becomes too "subjective," thus resulting in a failure to be able to appreciate any of the larger issues involved with the work or any larger messages the work is trying to convey. Thus, proper aesthetic distance means finding some middle ground between the ways in which a work of art makes you feel and the ways it makes you think.