Abstract The 18th-century notion of the picturesque is somewhat lesser known as compared to the more celebrated categories of the beautiful and the sublime, even though it may not only help us critically reflect upon modern perceptions of the landscape, but it may also provide us a unique way to link the field of aesthetic speculation with questions of technology and economy. The article will focus on two of the major theoreticians of the picturesque (William Gilpin and Uvedale Price) and will examine their ideas in relation to Edmund Burke’s aesthetics on the one hand, and contemporary tendencies in landscape gardening (as represented by Lancelot “Capability” Brown and Humphry Repton) on the other. Such an investigation may shed light on the multiple shifts in the perception of nature and the sense of naturalness during the long 18th century, as well as on the pictorial and theatrical aspects of landscape design. But examples of the Claude glass, the ha-ha, and Humphry Repton’s Red Books may also indicate the role of technological innovations and economic interests, and thereby the relevancy of the very discourse of the picturesque to more modern or even postmodern artistic, cultural, and medial developments.

中文翻译：

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风景如画的屏风：美学、技术、经济

摘要 与更著名的美丽和崇高类别相比，18 世纪风景如画的概念鲜为人知，尽管它不仅可以帮助我们批判性地反思现代对风景的看法，而且还可以为我们提供一种将审美投机领域与技术和经济问题联系起来的独特方式。本文将重点关注风景如画的两位主要理论家（威廉·吉尔平和乌维代尔·普莱斯），并将一方面考察他们与埃德蒙·伯克的美学相关的想法，以及景观园艺的当代趋势（以兰斯洛特的“能力”为代表）布朗和汉弗莱莱普顿）在另一边。这样的调查可能会揭示在漫长的 18 世纪期间对自然的感知和自然感的多重转变，以及景观设计的图像和戏剧方面。但是克劳德玻璃、哈哈和汉弗莱莱普顿的红皮书的例子也可能表明技术创新和经济利益的作用，从而表明风景如画的话语与更现代甚至后现代的艺术、文化、和中间的发展。