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Volume 54 Issue 6
November 2022
Article Contents

Citation: Xun DAI. Go Wild: The History of Landscape and Its Aesthetic Expression[J]. Academic Monthly, 2022, 54(6): 156-166. shu

Go Wild: The History of Landscape and Its Aesthetic Expression

  • Environmental aesthetics is, in its essence, landscape aesthetics. As an objective natural landscape, scenery is an object independent of human beings. However, landscape as an aesthetic object is a product of artificial construction. The ancient Chinese living in farming society discovered the beauty of natural scenery earlier, and established an aesthetic relationship with nature in ethical way. Mountain and water painting played a role which is similar to religion in ancient China. The ancient West, which was mainly characterized by commercial society, neglected natural scenery. Western classical art was dominated by body art. As a response to the industrial revolution, people began to pay attention to and reassess the aesthetic value of nature, to put the city against the countryside and praise the natural scenery. Western landscape painting developed rapidly and entered a golden age. Romantic artists not only depict charming natural scenery, but also show the untamable and uncontrollable wild power of nature. They love primitive and wild and even frightening natural scenery. This has caused a significant change in the themes of modern and contemporary Western art and aesthetics, and opened the way to wilderness aesthetics.
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    1. [1]

      HU Jun . The Aesthetic Imagery Creation of Chinese Landscape Painting from the Perspective of Neuroaesthetics. Academic Monthly, 2024, 56(5): 168-178.

    2. [2]

      Xia ZHONG . Chinese Doctrine of “Aesthetics as the First Philosophy”. Academic Monthly, 2022, 54(7): 161-170.

    3. [3]

      Yongjian GUO . Intersubjectivity and Chinese Contemporary Aesthetics. Academic Monthly, 2019, 51(10): 139-149.

    4. [4]

      Pingyuan CHEN . Politics and Aesthetics of Voice. Academic Monthly, 2022, 54(1): 146-166.

    5. [5]

      Chunshi YANG . On the Poetical Characteristics of Chinese Aesthetics. Academic Monthly, 2019, 51(2): 144-151.

    6. [6]

      YAN Xianglin . . Academic Monthly, 2018, 50(7): 150-158.

    7. [7]

      Li LI . Imaginative Rationality. Academic Monthly, 2019, 51(10): 150-159.

    8. [8]

      Shu Jun YU . The Different Scenery of “Marginal” Situation. Academic Monthly, 2021, 53(11): 157-167.

    9. [9]

      . . Academic Monthly, 2016, 48(02): 179-184.

    10. [10]

      Shiping TANGLing GAOLi LIYichao LU . State Capacity: Out of Theoretical Wilderness. Academic Monthly, 2022, 54(11): 68-83.

    11. [11]

      LI Zhijun . Regional Defense:Research on the Xindi Division and Duty of the Yangtze River Defense in the Ming Dynasty. Academic Monthly, 2024, 56(1): 176-191.

    12. [12]

      . Where Will Aesthetics Go: Thomas Munro’s Way of Cross-civilization Comparative Aesthetics. Academic Monthly, 2018, 50(04): 108-117.

    13. [13]

      Chengji LIU . The Aesthetics of Rites-Music and Traditional China. Academic Monthly, 2021, 53(6): 171-182.

    14. [14]

      XU Ming . Aesthetics and Cognitive Science. Academic Monthly, 2023, 55(8): 145-165.

    15. [15]

      Xiangzhan CHENG . The Theory of Aesthetic Appreciation: The Unique Aesthetic Conception of Environmental Aesthetics and Its Promotion of Aesthetic Principles. Academic Monthly, 2021, 53(2): 151-159.

    16. [16]

      Jianping GAO . The Revival of Aesthetics at the Turn of the Century. Academic Monthly, 2020, 52(6): 111-121, 134.

    17. [17]

      Ying XIAO . On the Aesthetic Meanings of the Dream of Red Massions. Academic Monthly, 2020, 52(9): 131-139.

    18. [18]

      . . Academic Monthly, 2017, 49(12): 122-133.

    19. [19]

      GUO Yongjian . Two Dimensions of Aesthetic. Academic Monthly, 2023, 55(7): 142-151.

    20. [20]

      Yanping GAO . Herder on Touching: Aesthetics of “Dunkelheit” (Darkness). Academic Monthly, 2018, 50(10): 130-139.

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        Go Wild: The History of Landscape and Its Aesthetic Expression

        Abstract: Environmental aesthetics is, in its essence, landscape aesthetics. As an objective natural landscape, scenery is an object independent of human beings. However, landscape as an aesthetic object is a product of artificial construction. The ancient Chinese living in farming society discovered the beauty of natural scenery earlier, and established an aesthetic relationship with nature in ethical way. Mountain and water painting played a role which is similar to religion in ancient China. The ancient West, which was mainly characterized by commercial society, neglected natural scenery. Western classical art was dominated by body art. As a response to the industrial revolution, people began to pay attention to and reassess the aesthetic value of nature, to put the city against the countryside and praise the natural scenery. Western landscape painting developed rapidly and entered a golden age. Romantic artists not only depict charming natural scenery, but also show the untamable and uncontrollable wild power of nature. They love primitive and wild and even frightening natural scenery. This has caused a significant change in the themes of modern and contemporary Western art and aesthetics, and opened the way to wilderness aesthetics.

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