Research On Zhu Guangqian’s Discourse Of Ecological Aesthetics

The theoretical construction of Chinese ecological aesthetics is based on the development of Chinese modern aesthetic thought and grows under the appropriate historical environment.Zhu Guangqian,as an aesthetician who had a profound influence on the modernization process of Chinese aesthetics in the 20th century,constituted an important theoretical source of Chinese ecological aesthetics.At present,the academic circle pays relatively much attention to the research of the ecological aesthetic implication in Chinese classical culture and thought,but does not pay enough attention to the resource mining of modern aesthetics in the period of the alternation of the old and the new.This paper takes Zhu Guangqian’s aesthetic thought system as the research object,examines it from the perspective of ecological aesthetics,extends the study of ecological concept of classical Chinese form to modern aesthetics,in order to further improve the construction of Chinese discourse form of ecological aesthetics and provide new materials and ideas for the theoretical construction of ecological civilization.At the same time,it will also supplement the existing research on Zhu Guangqian’s aesthetic system and inject new theoretical vitality into the development of Chinese modern and contemporary aesthetics.The paper selects ecological aesthetics in the broadest sense of the concept,not only paying attention to the natural ecological aesthetic realm,but also compatible with the people and society and man and its ecological relationship,the pursuit of many aspects,integrity of the aesthetic state of ecological balance,in particular,will be divided into natural ecology,spiritual ecology and the ecology of three parts.In order to avoid reclassifying and retold Zhu Guangqian’s classical thoughts in the name of ecological research,and to make ecological aesthetics and Zhu Guangqian’s aesthetic thoughts become "two skin" without any relationship,the paper will consciously face the social situation in writing,aiming at environmental pollution,energy crisis and other realistic ecological survival problems.It will also solve the nihilistic dilemmas such as the lack of faith in the human spiritual world and the mediocrity of aesthetics in the development of modern rationality.This paper tries to find the balance between the harmonious aesthetic ideal by using the theoretical resources of Chinese and Western ecological aesthetics,and by reflecting on the multiple fields such as sensibility and rationality,ego and the other,material and spirit.In the chapter of natural ecology,Zhu Guangqian’s notion of natural beauty will be corrected and his natural aesthetic appreciation will be restarted.The interpretation of natural beauty from the standpoint of artistic aesthetics will fall into the trap of denying natural beauty.The significance of the natural beauty in Zhu Guangqian’s thoughts can be found by interpreting natural beauty from the standpoint of aesthetic appreciation and integrating the problem into the history of modern Chinese aesthetics and western environmental aesthetics.Specifically,it will analyze the problem of natural aesthetic appreciation from four aspects:the attitude to natural objects,the relationship between human and nature,the natural aesthetic way and the ecological ethical value,and reveal its unique ecological aesthetic consciousness.In the chapter of spiritual ecology,it will analysis the spiritual predicament of modern ills caused both main body inner spiritual world of chaos and alienation of technical rationality and the impact of the consumption of symbols,all these representations reflect the relationship between self and other imbalances,Zhu guangqian’s life aesthetics from the aesthetic ideal guides life realm,provides empirical wisdom,refinement can be divided into:The complete balance of sensibility and rationality,the free transcendence of birth and entry into the world,the aesthetic integration of art and life.In addition,in view of the imperfections of the theory of aesthetic redemption under the background of modern aesthetic commercialization,this paper puts forward the assumption that ecological redemption and aesthetic redemption are in parallel,so as to return to the original spiritual matrix.In the chapter of artistic ecology,it will start with specific aesthetic activities and artistic practice,based on Zhu Guangqian’s poetics theory,and complete the organic circulation of the human body and spirit in artistic aesthetics with the help of theories such as "muscular theory" and "internal imitation".Specifically,it can be divided into:the harmony between poetic rhythm and physical and mental rhythm,the harmony between artistic creation and physical muscles and muscles,and finally the connection between poetics ecology and life value.Thus,art,aesthetics and life constitute a whole that transcends the secular world and realizes spiritual freedom.In addition to theoretical construction,this paper will also take Zhu Guangqian and White Horse Lake Writers as specific cases,from the expression of natural ecological aesthetic,ecological existence of poetic residence and ecological aesthetic education feelings and so on three aspects of the ecological existential aesthetic characteristics shown.The ecological space elements of the White Horse lake and the collective characteristics of the writing spirit of the White Horse lake genre can be regarded as the two parts of natural ecology and human ecology.On the basis of summarizing the whole text,the conclusion part looks at the current research status of ecological aesthetics,and discusses the possibility of theoretical extension and future assumption.The whole thesis will compare the views of Cai Yi,Li Zehou and others of the same period in the problem domain,and the thoughts of western environmental aestheticians Carlson,Berleant and ecological philosopher Naess,in order to form a three-dimensional picture of the combination of problem consciousness and historical context.