رابطۀ ادراك حسي، كمال و لذت با زيبايي در استتيك كريستين ولف

The Relation between Sensory Perception, Perfection and Pleasure with Beauty in Christian Wolff's Aesthetics

ديدگاه كريستين وُلف دربارۀ ‌‌ادراك حسي كه چارچوبي لايب‌‌‌نيتسي دارد، اساس استتيك او را برمي‌‌‌سازد. او با توجه به ماهيت واضح ولي مغشوشِ ‌‌ادراك حسي در اين چارچوب، مفهوم كمال و لذت را تبيين مي‌‌‌كند و از همين معبر ره به تعريف زيبايي مي‌‌‌برد. به اين ترتيب، از نظر او، كمال همانا توافق يا هماهنگي كثرات يا انبوهي از اشياء يا اجزاي آن‌هاست؛ لذت، حاصل شهود كمال در اشياء است؛ و زيبايي هم عبارت است از كمال شيْء از آن حيث كه براي ايجاد لذت در ما مناسب است. با اين اوصاف، در اين مقاله قصد داريم ماهيت ‌‌ادراك حسي نزد او و رابطۀ ادراك حسي، كمال و لذت را با زيبايي در استتيك او بكاويم تا مشخص شود چگونه علم استتيك به‌‌‌طور عام از دل مباحث معرفت‌‌‌شناختي و به‌‌‌طور خاص از بطن ‌‌ادراك حسي بيرون مي‌‌‌آيد. در نهايت‌‌، با در نظر داشتن اين مهم كه خود او مستقيماً داعيۀ نظريۀ مستقلي در حوزۀ استتيك نداشته، نقد و نظري بر لوازم مربوط به استتيك او خواهيم داشت تا حدود و ثغور نظريۀ عقل‌‌‌گرايانۀ مفرط او در برخورد با مسائلي چون دايرۀ شمول زيبايي، مراتب زيبايي و اختلاف‌‌‌نظرهاي ذوقي مشخص شود.

Christian Wolff's view regarding sensory perception – which is formed on a Leibnizian framework – forms the base of his aesthetics. He explains the concept of perfection and pleasure according to the clear but disordered essence of sensory perception that is present in this framework and through this very path guides towards the definition of beauty. Thus, according to him, perfection is the consistency or accordance of diversity or the abundance of things or their parts; pleasure is the result of the intuition of the perfection present in things; and beauty is the perfection of a thing from the aspect of it being suitable in creating pleasure in us. Therefore, in this article we intend to explore the essence of sensory perception according to him and the relation between it, perfection and pleasure with beauty in his aesthetics so that it becomes clear how aesthetics emerges from the heart of epistemological discussions in general and from the depths of sensory perception in particular. Finally, while keeping in mind the important fact that he did not directly claim to have an independent theory in the field of aesthetics, we will critique and give our views in regards to the requisites connected to his aesthetics so that the limits of his extreme rationalist views in dealing with issues such as the extent that beauty covers, the levels of beauty and the difference of views in relation to taste and liking become clear.