| Since its establishment, ecological aesthetics has mainly built on Western deep ecology, and "eco-existence" which is a blend of deep ecology, existentialism and traditional Chinese philosophy, as philosophical basis. In this basis, the relationship between human and nature, the differences between human with his subjectivity, social, humanity and nature with its objectivity, unconsciousness, the paradox between human's respect to nature and his access to nature, are cores of the problem. Studying traditional Chinese aesthetics and aesthetic culture as objects, this paper starts with Yi-logical to compare the Western and Eastern world views, the latter may inspirit ecological aesthetics to solve the three problems.The first chapter explained the background of this issue, studied the research on ecological aesthetics and its relationships with Yi-logy, then offered the objects and methods of this paper.The second chapter which named problems in construction of ecological Aesthetics, pointed out modernity, eco-transcendence, ecological integrity and ecological structure as main features of ecological aesthetics brought by eco-centrism. First, was the relationship between human and nature. Eco-centrism made an unilateral declaration that human and nature are equal in the state of nature's aphasia and absence, and also negates the special ecological responsibility of human. Second was the problem about subjectivity and objectivity, humanity and unconsciousness in ecological aesthetic. On one hand, the aesthetic of nature must has been structured in human subjectivity. On the other hand, artistic also contains ecological factors. The third is about eco-protectionism, if accessing to nature and respecting to nature is contradictory. This section also pointed out that these paradoxes are unavoidable in the Western world view, but the Eastern world view may give answers to these questions.The third chapter is named biochemical characteristics in Yi-logy. This chapter revealed the biochemical nature of Yi-logy from three angles, so as to provide a premise to learn ecological aesthetics from Yi-logy and traditional Chinese philosophy. The first section discussed the moderate coordination, dynamic balance, interaction between different elements of the "joint" in Yi-logy. The second section discussed the cross-cutting nature of Yi-scopes, and then analyzed the relationship of reciprocal causation between this characteristics and the world view in which the universe was born and raised generation by generation, and heterogeneous things joined together. In the third section the number's effects on specifying and quantifying things are discussed, thus analyze the "number setting" destiny biased on interaction of Heaven and human.The forth chapter is aimed to solve the paradox of the relationship between human and nature. The first section started by the origin view of Yi-logy to discuss the relationship between human and nature, and pointed out that it's not necessary to defy center and periphery, like in the Western world view. People live in an eco-unity in which "nature-man-humanity" joined together, creating human shield from the natural biological "purpose without purpose" and the poetic value of crude itself. The second section studied the ecological aesthetic brought by the harmony of nature and human. People followed behind and joint nature, by which, on one hand, they established the eco-wave personality, including the "vertical" mode that highlight the vitality of nature and the "committee of operation" mode that conform the law of both nature and humanity; on the other hand, they also construct an ecological aesthetic mode, including "materialized" to beyond time, space, utility and the bound of individual, "vitality", "natural create" to demonstrate the natural rhythm of life, and "dull" "naive" to cover artificial traces. The symbiotic identity of nature-society-human-art has great significance to inspirit the salvation of "fragmentation" in present life and the reconstruction of ecological harmony.The fifth chapter is named image and poetic imagery. This chapter aims to solve the problem of people's subjectivity and humanity in ecological poetics. The first section starts from the "Image" in Yi-logy to discuss the thinking mode of choosing "Image" from nature, what can preserve meaning by its recreating space. The second section is about "Image", first pointed out its similarities with Yi-image on contenting in the structure of humanity and unlimited recreating space, and then compared it with Yi-image system that simulated the community of the universe, so as to analyze the meaning of image groups on constructing a total sense of the universe. The third section discussed another product of Yi-logy called poetic imagery, which is a transcendence of limitations of language, category and individual. The process of interaction between the object and subject, and creating imagery so as to complete the biochemical and ecological transcendence, is still having present value.The sixth chapter aims to rationalize the use of nature. The first section starts from two Yi-logical concept called "degree", which aims to optimize the overall structure of a promotion system, and "number", which aims to quantify the law of operation of the system, then pointed out its influence on the concepts of "save" and "comply with nature". The second section pointed out that the influence of "save" had give birth to the traditional Chinese aesthetic consciousness of "love life". Also, the concept of "comply with nature" contains environmental beauty and artificial beauty of harmony between Heaven and human. This section studied from the feng shui requirements of "harmony" and "sentient beings", the aesthetic law of mutual discovery, mutual being background and harmony between nature and human, and the aesthetic sense in building landscapes of hologram reflecting the nature. Learn from this and then push it into social and spiritual life, ecological aesthetics must greatly contribute to promote the optimization of human existence.
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