當前環境危機層出不窮，造就了生態或環境倫理學對自然的
關懷及永續發展的社會主導取向，然而接下來「依規範行動」的
力源考量──特別是行動的施者與受者在自然這塊版圖上的互動，
把發言權少許讓渡給感性範疇，也促使美感倫理學在以生態為主
眼的環境倫理論述中形成了一個討論區塊。循此，本文嘗試剖析
Aldo Leopold 饒富洞見的「美感洞察」和 Holmes Rolston 一以貫
之的「美學的荒野轉向」，並進一步以「突現美學」的觀點為兩種
「美感倫理」再進一解，說明試圖以美感作為「依規範行動」的
力源是一種好著想，但是，以西方美學來承擔這項重任，則力有
未殆，蓋以「優位」只有一個，「美感」與「道德」不能兩立故，
本文遂提出華夏美學的解困之道。

The current environmental crisis has created the social-leading orientation
of ecological or environmental ethics to care for nature and sustainable
development. And then the impetus consideration of “acting according to
norms”—especially the interaction between the giver and the recipient in the
map of nature—has ceded a little bit of its voice to the aesthesis category and
prompted aesthetic ethics to become a discussion section in the discourse of
environmental ethics with ecology as the main focus. Following this, this paper
attempts to analyze Aldo Leopold’s visionary “aesthetic insight” and Homes
Rolston’s consistent “aesthetic wilderness turn” from the perspective of
“emergence aesthetics.” It tries to illustrate that it is a good idea to use beauty as
the impetus source of “acting according to norms,” but it also indicates that to
take on this heavy responsibility by Western aesthetics is not enough. It is
because there is only one “optimal value,” either “beauty” or “morality” but not
two of them together. This paper then puts forth a way to solve the difficulty
with Chinese aesthetics.