Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture

Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

Aesthetics Naturalised: Schlick on the Evolution of Beauty and Art

In his earliest philosophical work, Moritz Schlick developed a proposal for rendering aesthetics into a field of empirical science. His 1908 book Lebensweisheit developed an evolutionary account of the emergence of both scientific knowledge and aesthetic feelings from play. This constitutes the framework of Schlick’s evolutionary psychological methodology for examining the origins of the aesthetic feeling of the beautiful he proposed in 1909. He defends his methodology by objecting to both experimental psychological and Darwinian reductionist accounts of aesthetics. Having countered these approaches, Schlick applies Külpe’s psychological distinction between stimulus-feelings and idea-feelings to collapse the traditional philosophical opposition between the agreeable and the beautiful. Both types of feeling, Schlick argues, result from humans’ adaptation to their environment. Because of this adaptation, feelings that were once only stimuli for action can come to be enjoyed for their own sake. This thesis underlies Schlick’s 1908 argument that art, qua mimesis, is necessarily inferior to aesthetic feelings directed towards the environment. Part of Schlick’s justification for this view is that humans are, through a long evolutionary process, better adapted to their environment than to artworks. Schlick nevertheless concedes that mimetic art can involve ways of abstracting from the objects it copies to produce idealised regularities that are not found in the original. Schlick thus concludes that art teaches its audience how to perceive the world in this abstract and idealised manner. This type of environmental aesthetics constitutes a means for reaching Schlick’s utopian ecological vision of a future in which culture will become harmonised with nature.

Dancing as Environmental Aesthetics from Indigenous America

Taniec jako estetyka środowiskowa z rdzennej Ameryki Współczesne badania estetyki środowiskowej podkreślają ciągłość między naturą a ludzkim działaniem. Większość z tych podejść sugeruje, że nacisk na ciągłość przyrody z ludzkością implikuje zmianę podejścia do środowiska naturalnego, co oznacza, że powinniśmy odejść od eksploatacji środowiska naturalnego i skupić się na jego ochronie i zachowaniu. W dwóch częściach tego artykułu argumentuje się, że idea ciągłości człowieka ze środowiskiem naturalnym była przez długi czas rodzimą wiarą filozoficzną rdzennej Ameryki, której najstarszą estetyczną manifestacją był taniec. Pierwsza część poświęcona jest idei ciągłości w rdzennej Ameryce, z położeniem nacisku na koncepcje Matki Natury i Ducha Człowieka. Druga część pokazuje, że rodzimy taniec uosabia estetycznie ideę ciągłości ludzkiego działania i środowiska naturalnego.

Modern Western Ecological Aesthetics from the Perspective of Aesthetics

Aesthetics is the study of people's perception and experience of heaven, earth and man and all things. Environment and landscape are the most important perceptual manifestation of ecosystem. How this perceptual manifestation affects human mind needs to be answered by aesthetics. It is not only possible but also necessary to study ecosystem from the perspective of aesthetics. Taking the ecological aesthetics of the English world as the main research object, this paper studies the three main approaches to the construction of western ecological aesthetics, which are philosophical speculation, ecological art theory and environmental practice. This study shows that: the interaction between ecological aesthetics and ecological art makes ecological aesthetics become the universal aesthetics of all aesthetic objects (including environment and Art), so as to distinguish it from environmental aesthetics more clearly. Strengthening the interaction between aesthetics and ecological aesthetic experience can make the connotation of ecological aesthetics more profound and clear. The results of this study have a certain reference value for the study of modern western ecological aesthetics from the perspective of aesthetics.

Enhanced technology of phytoremediation

The enhanced technology of phytoremediation has the advantages of low treatment cost, good purification effect, low environmental risk and environmental aesthetics. However, some hyperaccumulators grow slowly and their biomass is generally low; the activity of heavy metals in the soil is very low; the roots of plants are distributed in the surface of the soil, and the remediation effect of deep soil is poor; the nutrients of the soil to be repaired are seriously insufficient. It is necessary to take a series of strengthening measures to improve the efficiency of phytoremediation. The strengthening technologies of phytoremediation include chemical strengthening, microbial strengthening, animal strengthening, carbon dioxide strengthening, agronomic and management measures strengthening, etc.