1. Landscape Aesthetics from the Perspective of Contemporary Culture
A new round of discussion about natural aesthetics is going on. Some scholars believe that in the new theoretical framework of natural aesthetics, ecological aesthetics should be noumenon, landscape aesthetics should be image and environmental aesthetics should be use.
Because of this, the dividing line between the three is not so clear. Ecology, landscape and environment are an inseparable whole, which together create the external space for human existence. In contrast, the scenery is the most intuitive and concrete. Landscape aesthetics needs to face the specific relationship between land and human beings. In general, the research object of landscape aesthetics is actually "humanized nature" or even "artificial nature", which is the product of the coordination between man and nature. Whether it is the classical gardens in ancient China that "man-made creates heaven" or the "poetic dwelling" described by western professional landscape designers since the 20th century, this concept is actually reflected. What supports this idea is the ecological view and environmental view based on different philosophical foundations. In reality, it is impossible for us to appreciate any abstract ecological environment view directly. We often face a specific landscape (which can be natural landscape, artificial landscape or human landscape), and gradually feel its ecological environment in the experience of enjoying tourism. This is Shangyi's understanding of natural landscape. In fact, in addition to the significance of ecology and environmental science, the cultural tradition accumulation and regional cultural connotation in artificial landscape and human landscape also reflect the value of ecology and environment from another side. We might as well take landscape aesthetics as the body, ecological aesthetics and environmental aesthetics as the two wings, and form a theoretical framework of natural aesthetics called "one body and two wings". This "body" is not an ontology, but a concrete existence. The wings of ecological view and environmental view are the abstract basis of landscape existence. As different levels of natural beauty, both environment, ecology and landscape have unified, regular and harmonious formal attributes. At the same time, they are closely related to human daily life, spiritual experience and aesthetic feeling. Under the premise of gradually overcoming the "anthropocentrism" prejudice, if we think that the landscape is an established concrete phenomenon, then we should observe its essence through the phenomenon, that is, appreciate the ecological implication of the landscape. It is possible to evaluate the value of the phenomenon, that is, to measure the environmental value of the landscape.
Whether in Cihai or China Encyclopedia. Philosophy Volume and Encyclopedia of China? There is no word "landscape aesthetics" in the volume of Architectural Garden Urban Planning, and the aesthetic branch of "landscape aesthetics" rarely appears in general aesthetic theory reading and applied aesthetic theory writing. According to the "Landscape Aesthetics" included in the Encyclopedia of Social Sciences published in 1996, Ji Tao, a Chinese scholar, wrote "On Landscape Aesthetics" in the fourth issue of New Art 1984. He systematically discussed landscape aesthetics for the first time in Tianjin Social Sciences published in March1985. However, since then, although the study of landscape aesthetics has been expanded, compared with the aesthetics of other art departments, both published papers and monographs are lacking. Since the mid-1990s, with the introduction of foreign landscape design ideas and the beginning of the new century, landscape designers have been officially recognized as one of China's new occupations by the Ministry of Labor and Social Security, and there are in-depth studies and discussions on landscape aesthetics based on professional perspectives in architectural theory, landscape design, environmental science and other fields. For example, Wu Jiahua wrote Landscape Morphology: A Comparative Study of Landscape Aesthetics (China Building Industry Press, 1999 Edition), Modern Landscape Planning and Design (Southeast University Press, 2005 Edition), Landscape: Culture, Ecology and Perception, and Yu and Li Dihua wrote The Road to Urban Landscape-Communication with Mayors. In the field of aesthetic literature and art, with the heated discussion and gradual development of ecological aesthetics, environmental aesthetics and human existence in the post-industrial era, concepts such as landscape aesthetics and environmental aesthetics are also active in the humanities field and become topics of concern in the field of aesthetic literature and art. According to the author's access to relevant materials, it is found that the number of names of "landscape aesthetics" or "landscape beauty" used in domestic monographs is limited, such as Landscape Aesthetics (Nanjing Normal University Press, 2002 edition). Wang's Beauty of Landscape (Hebei Children's Publishing House, 2003 edition) and Landscape Aesthetics (Education Science Publishing House, 2000 edition), in addition, in the mass media fields such as fashion travel magazines, the word "landscape" in aesthetic sense also frequently appears on pages. For example, in 2005 and 2006, chinese national geography published a special issue of Beauty Pageant China and a collector's edition of Landscape Avenue, which showed a preference for landscape culture and landscape aesthetics.
But when we study it carefully, we can find that people really have different opinions about the word "landscape", and sometimes the word "landscape" is almost used casually. In fact, there are a set of cognitive discourses about "landscape" in culturology, sociology, tourism, forestry, geography, environmental studies, architecture, landscape design and other disciplines, but in the field of aesthetics and literature, "landscape" and "view" are generally understood separately, just like China's classical literary theory, which separates "emotion" and "landscape" into binary opposition. This is actually a literary thinking mode with inertia, which is easily limited by literal meaning and ignores its deeper connotation of human settlement culture, thus confusing the research object of landscape aesthetics with tourism aesthetics. Strictly speaking, the word "scenery" is actually a foreign word. We can sort it out from three contexts: English, Japanese to Chinese, and Chinese. In English, the old English forms of "landscaped", such as landscaped, landscaped and Landscaef, are similar to their cognates in ancient Germanic languages, such as ancient highland German Lantscaf, ancient Norwegian Landscaper and medieval Dutch Landscap, which are all related to land, countryside or region, but to natural scenery or scenery. As the most popular translation landscape in Chinese, its meaning is also very vague and complicated. It is believed that the word "landscape" was coined by Japanese botanist Dr. Miyoshi as a translation of German "Landschaft" around Meiji 35 (AD 1902). At first, it was widely used as the meaning of "plant landscape", and later it was introduced into geography, urban sociology and other fields. The word "landscape" first appeared in the works of China scholars. It was in 1930 that Mr. Chen Zhi, a pioneer of landscape science in China, included the Japanese plant landscape in the Japanese part of his book Ornamental Trees. Later, Mr. Chen Zhi used the word "landscape" in the Introduction to Landscape Architecture published by 1935. At that time, the word landscape already had the meanings of "scenery", "scenery" and "scenery". 4. As a modern discipline, the concept of landscape science has its specific connotation. The concept of "landscape" needs to be mentioned here. The so-called landscape science is based on the discipline of landscape planning and design, with the overall goal of coordinating the harmonious relationship between man and nature, based on a wide range of natural sciences and humanities disciplines such as environment, ecology, geography, agriculture and forestry, psychology, society, recreation, philosophy and art, with planning and design as the core. The discipline of creation, construction, protection and management of human settlements and humanistic construction is a new comprehensive modern discipline under the background of industrialization, urbanization and socialization. 5. Since the first independent landscape architecture appeared in the world more than 100 years ago, Europe, America and Australia have gradually established mature landscape architecture education systems. Landscape education (division) organizations have been established, which are responsible for formulating unified educational standards and evaluation methods, with specialized evaluation institutions, forming a number of representative and influential international landscape education organizations. Landscape discipline and landscape education system were introduced into China in recent years 10. However, the newly introduced landscape architecture theory in China and the traditional landscape architecture theory in China have always been divided on the issue of "rectifying the name". Here, we have no intention to narrowly understand the concept of landscape aesthetics as landscape aesthetics, but we can't ignore the fact that landscape planning and design is in the ascendant in contemporary urban construction in China. Modern landscape design has gradually become one of the important environmental protection means for urban construction, coordinated development of urban and rural areas and protection of natural ecology. In this sense, the research focus of landscape aesthetics should not be too broad, and the aesthetic research of mountains, rivers, lakes, grasslands and wetlands should be included. We should not only pay attention to the classical gardens that reflect the aesthetic taste of literati or the appreciation mentality of medieval nobles, but also pay more attention to the physical objects of modern and contemporary landscape buildings and the aesthetic character of various landscape design and landscape planning concepts in the process of urbanization. With the overall deepening of the construction of a well-off society in China and the gradual development and improvement of landscape discipline and landscape education system, more and more landscape buildings will decorate our lives, which will play a positive role in coordinating the relationship between man and land and creating a harmonious and poetic living space. We should seriously study it from the aesthetic point of view. It can be said that landscape aesthetics is the embodiment and foothold of ecological aesthetics and environmental aesthetics, and it is the extension and expansion of architectural aesthetics. It is expected that in the near future, the study of landscape aesthetics, which is closely related to human settlements and urban construction, will become an important aesthetic branch of the art department alongside architectural aesthetics, film aesthetics and craft design aesthetics.
Second, correctly handle the relationship between the theoretical construction of landscape aesthetics and other related disciplines.
Since the birth of China's landscape aesthetics, not only the concept definition is vague, but also the discipline attribution is chaotic, because landscape science itself is an interdisciplinary subject, which is inextricably linked with traditional landscape aesthetics, architectural aesthetics, tourism aesthetics, ecological environment aesthetics, geographical science and other disciplines. Therefore, it is particularly necessary to correctly handle the relationship between landscape aesthetics theory and other related disciplines.
The first is the relationship with classical garden aesthetics. No matter in the East or the West, there are long-standing gardening techniques and arts. In the 17 and 18 centuries, China, Japan, Britain, France and other countries had frequent and close exchanges and influences on gardening art. Facing the rich heritage of Chinese and foreign classical garden art and the exchange history of eastern and western garden art, today's landscape aesthetics research has a broad space for inheritance and development. On the one hand, we can get inspiration from the traditional gardening concept, especially the view of nature in classical garden aesthetics. For example, in the gardening thought of China's classical gardens, it is emphasized that "learning from nature" and "although it is artificial, it is natural" 7; Japanese gardens are more abstract and freehand, especially "dry landscapes" pay more attention to the so-called eternity; Influenced by the continental rationalism philosophy represented by Descartes, French gardens advocate that art is higher than nature, artificial beauty is higher than natural beauty, and pay attention to order and proportion, subjectivity and order. Inspired by the empiricism aesthetics represented by Bacon and Locke, British natural landscape architecture regards beauty as a perceptual experience, rejects artificial things and emphasizes the maintenance of natural forms. Kent even thinks that "nature hates straight lines". 8. However, due to excessive rejection of artificial traces and rough details, the garden space is slightly empty and monotonous, so that Chambers once criticized it as "no different from ordinary wilderness". Reproduce nature completely and roughly. The view of nature in the above-mentioned classical gardens, whether emphasizing learning from nature or being higher than nature, is essentially emphasizing the treatment of "nature". The only difference lies in the different emphasis of artistic treatment methods, thus creating different styles of garden art forms, which is undoubtedly a historical concept and practice worthy of cherishing and inheriting for the aesthetic thinking of modern landscape design and planning. On the other hand, modern garden landscape needs to develop new ideas on the basis of sublating the natural view of classical gardens. This expansion is mainly manifested in two aspects: the first is the expansion from "imitating" nature to ecological nature. Such as Mike, a professor of landscape architecture at the University of Pennsylvania in the United States? As early as 1965, Lan Macharg put forward a comprehensive ecological planning idea in his classic Design with Nature. Another expansion is from static nature to dynamic nature, that is, modern landscape design, which begins to regard landscape as a dynamic system. The purpose of design is to establish a natural process, not a static picturesque. Consciously accept the intervention of related natural factors and try to bring the process of natural evolution and development into the open landscape aesthetics system. A typical example is the Shell Landscape Project next to Rotterdam Weir designed by WEST8 Landscape Design Office in the Netherlands in 1990s. In addition, the functional orientation of modern gardens is different from that of classical gardens, which mainly serve the court nobles and a few literati. The main function is only to focus on their daily activities and psychological needs, but to consider the diverse needs of the public and various behavioral phenomena in the open space, and make full use of the methods of environmental psychology, behavioral psychology and other disciplines to "tailor-made" the modern landscape for the public. In a word, modern landscape aesthetics is more open and free on the basis of comprehensively absorbing and inheriting the achievements of classical garden aesthetics, and its artistic techniques are also greatly innovative.
Secondly, the relationship with architectural aesthetics. Here first involves the difference between landscape design and architectural design. On Michelle? In Conan's view, "the intention realized through landscape works is revealed in the landscaping stage." At this time, the combination of creator and nature is more like a dialogue than a pre-existing modeling rule. In sharp contrast with art, landscape creation is a long-term and serial communication process, but the difference between them is ignored by the artist himself: architecture is based on the affirmation of human will freedom, which determines that space takes precedence over time. The art of landscape design reshapes the existing place through the renewed dialogue between natural will and human creative imagination. In the constant changes, nature will always be branded with the new brand of human life, visit and work. When we are constantly lamenting the great changes that architectural culture has brought to human living space and historical features, we might as well calm down and reflect on the classical way of thinking that has dominated architectural design and landscape design since the Renaissance and unilaterally pursued the unity of artistic works, and reflect on the traditional European view of art, that is, the standard of noble artistic taste is the habitual thinking decided by the upper class. To a certain extent, landscape design in the new era will achieve a breakthrough that is difficult to achieve in the field of architectural culture. This kind of landscape aesthetics will not stick to a particular taste, but tell different users; Its aesthetic value must also be realized through user interaction. The creative perspective under this landscape aesthetic concept will take into account the interests of different groups of people. This creative perspective and thinking mode of landscape aesthetics meet the needs of today's globalized and multicultural society, and will greatly inspire people all over the world who are concerned about the diversity of natural culture in contemporary society. In addition, unlike architectural criticism, all the poetry of landscape criticism comes from the dynamic operation of biology and energy, that is, poetic blending with nature, which will go beyond the boundaries of all human artistic or engineering creation. For example, landscape aesthetics in contemporary China highway construction deserves full attention. How to creatively express the originality of landscape design and its dialogue with places under the background of China traditional culture provides landscape designers with multiple stages to show their landscape artistic talents. The combination of new landscape thinking mode and contemporary China issue is expected to produce contemporary landscape aesthetics with China characteristics.
In addition, analyzing and handling the relationship with tourism aesthetics, ecological environment aesthetics and geographical science in the construction of landscape aesthetics theory, and strengthening the translation, introduction and absorption of foreign landscape culture and landscape design ideas are effective ways to promote the maturity of local landscape aesthetics in China.
Thirdly, the basic principles of landscape aesthetics and the construction of urban culture in a harmonious society
The theoretical construction of landscape aesthetics should always embody the principle of unity of functionality, artistry and ecology. This is not only the requirement of the development characteristics and laws of landscape design and planning art, but also the need of respecting nature, protecting the environment and taking the road of sustainable development in the process of urbanization today.
(1) functional principle. Undoubtedly, landscape design and planning is science first, followed by art and aesthetics. On the premise of fully respecting scientific laws, we must point out the importance of functional factors in landscape aesthetics. From the perspective of planning and design, the evaluation of landscape design lies not only in whether the environment looks good or not, but more importantly, whether the functional problems are solved first, a suitable sense of place is formed, whether it is convenient and comfortable to use, whether it is harmonious with the surrounding environment, and whether the development and utilization of land resources are reasonable. The use function of landscape planning exists in various landscape facilities themselves, which directly provides convenience, safety, protection, information and other services for people. It is the external and primary perception factor of landscape design, so it is also the primary function? ..... Sometimes we often pay too much attention to the novelty and strangeness of landscape forms, dazzling exaggeration of colors and some symbols with vague symbolic meanings, while ignoring the reasonable interpretation of their technical content and functions; It is easy for people to pin some kind of design concept full of humanistic care, even romantic and idealized, on the form, ignoring that the perfect function and the good service of the landscape to people are the real source of beauty. In fact, only when form is closely combined with function can there be a rational basis. The aesthetic value of the combination of sensibility and rationality in urban landscape can only be fully reflected in the coordination of function and form.
(2) Artistic principle. Kalpuner thinks that art can't provide any intellectual meaning, and art only takes beauty as its object? . This sentence also applies to the aesthetic evaluation of landscape planning, and the artistic factor of landscape design is a very important factor. As for the spirit of the times, national style and cultural characteristics attached to landscape planning, it is often contained in our new interpretation of form-concept, rather than the only goal we pursue. We can't replace the right of landscape planning and design with will, and bind or even stifle imaginative and creative landscape design with the preconceived characteristics, styles and functions of certain culture. Otherwise, it will often lead to the rigidity of design and thinking, and the created landscape may be a failure that is both empty in form and lacking in spiritual connotation. For example, this principle is embodied in the evaluation of the bidding scheme of landscape planning in Nan 'anzui area of Wuhan, which is called "China Corner". Nan 'anzui area in Wuhan is located at the intersection of Yangtze River and Hanshui River, bordering Hankou in the north, Wuchang in the east, Guishan in the south and Yuehu Lake in the west. As the intersection of Wuhan mountain axis water system, it is the center of natural landscape of Wuhan megacity. In order to build Nan 'anzui area into a civic cultural activity center, a tourist center and an urban landscape center with distinctive waterfront features, and to shape Wuhan's internationally renowned landmark landscape, Wuhan invited nine well-known landscape design institutions at home and abroad to participate in the planning competition, and reviewed the submitted 1 1 creative scheme for two rounds. In these schemes, two chose the shape of the tower, and two adopted the shape of "Baiyun Yellow Crane", but the effect was not satisfactory. In these classical tower shapes, white clouds and yellow cranes, yellow cranes spread their wings and unite as one, they are all labeled as history, tradition, Chu culture, spirit of the times and so on. And this screaming tool that generalizes traditional culture into popular culture directly leads to the disappearance of the original profound connotation in the existence of traditional culture as a "selling point" and show off. Although any landscape design, especially the cultural landscape design of a city, will inevitably involve the historical context, geographical environment and humanistic customs of a specific city, blindly adhering to these principles will undoubtedly stifle artistic creativity and aesthetic spirit. A truly excellent landscape design should reflect the taste of inheriting tradition and respecting cultural connotation, rather than simply mechanically applying the traditional shell. As Marx said, "the social organic system itself as a whole has its own various preconditions, and its development process to the whole lies in: making all the elements of society subordinate to itself, or creating the organs it lacks from society." This view is also applicable to landscape design and planning, and various cultural traditions and regional cultures can be regarded as "subordinate" elements. On this basis, it is the only way for landscape design and planning aesthetics to be mature and profound to constantly create, update and explore new artistic significance.
(3) Ecological principles. Ecological problems have become the focus of current urban landscape planning. In landscape design, environmental protection is mainly reflected in the affinity between man and nature and greening. Western greening advocates the integration of urban greening landscape and outdoor nature, and the integration of inside and outside, which naturally becomes a part of the landscape; Landscape is the improvement and promotion of nature. For example, many landscapes designed by Mr. I.M. Pei are in direct contact with the ground without pedestals, as if buildings were "growing" directly from the ground. These ecological landscape designs are like Bruno? As Saiwei described, landscape planning "will replace crowded, polluted, chaotic and ferocious cities on the one hand, and desolate and uncivilized mountainous areas on the other." What it brings to people is not a temporary visual stimulus, but a long-term spiritual pleasure, which is a continuous and creative aesthetic experience. At the same time, the ecological principle of landscape design should also be reflected in saving. It is an indisputable fact that modern buildings consume a lot of energy and destroy the ecological balance. For some symbolic visual images in landscape architecture, the seemingly simple and lively landscape modeling is often more expensive than the traditional red tape modeling. Hackett, an Englishman, once pointed out: "It is an encouraging fact that more and more attention is paid to the need of ecological foundation in the field of landscape planning, but it is one thing to accept ecological principles and another to put them into practice." Under the background of the rapid development and expansion of urbanization in China, it is of great strategic significance to break through the disadvantages of traditional urban expansion mode and planning method and coordinate the relationship between landscape design and planning and the increasingly fragile ecological environment in the process of rapid urbanization. Here, Dr. Yu's "anti-planning" thought is worthy of attention. He has made a sober and profound reflection on the "urban beautification movement" that once swept the world and some wrong paths of landscape design and planning that China has taken out of the consciousness of small farmers and the psychology of "nouveau riche" since the 1990s. This paper puts forward a set of ideas of ecological landscape planning to establish harmonious coexistence between land and human settlements and strive to maintain the sustainable development of cities.
In addition, the principles of moderate design, cultural inheritance and regionalization are the organic whole of contemporary aesthetic culture and the practice of urban cultural construction in a harmonious society, aiming at improving the theoretical construction level and realistic aesthetic value of landscape aesthetics in a multi-level, multi-faceted and dynamic way. In the understanding of the essence of beauty, when we have begun to break through the traditional thinking mode of dichotomy between subject and object, we emphasize that beauty is generated, not ready-made. Similarly, the understanding of landscape aesthetics should be open and expanded. On the basis of further clarifying its own logical starting point, extensively absorbing and synthesizing the knowledge horizons and thinking methods of related disciplines, the theoretical construction of landscape aesthetics will be continuously enriched and improved with the pace of urban civilization construction.
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