Reflections on Ecological Aesthetics in Guazhou's Five Cultural Brands

Guazhou five cultural brands in the ecological aesthetic thinking ? Guazhou County Literature Federation, Gansu Province Zhang Zanyin 736100

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? Guazhou is making every effort to create "Xuanzang culture, Zhangzhi culture, red culture, border culture, grotto culture" and other five cultural brands. These five cultural brands, namely, Zhangzhi culture is known as the grass saint and black culture, Xuanzang scripture pathway of 800 miles of quicksand as the representative of the Buddhist yellow culture, to the Red Army of the West Road to the last battle of the generosity of the red culture characterized by the tragedy of the fifty-five remains of the ancient city as well as beacons as the representative of the ochre culture of the border, the Yulin Grottoes, the East Thousand Buddha Cave murals as the basis of the grottoes of colorful culture. This is not only a kind of concentrated reproduction and excavation of classical history and culture, but also a kind of ecological culture combined with the aesthetics of tourism education. It also needs us to further and the current cultural background combined with the idea of collision, because he also needs us to further packaging to build, with the further enhancement of publicity, people's life experience in the form of diversity and tolerance will be more and more demanding. The road of Xuanzang has become a social elite and college students favored international brand tourism mecca. The walking route of the Red West Road Army will also become a classic route in the future. With a different aesthetic vision, feel Guazhou different geomorphological features of ecological aesthetics of space and time, which is the ancient Guazhou earth to the people of the gratuitous gift, where there are endless treasures.

The study of local and national aesthetic culture is the frontier of contemporary aesthetic research. Guazhou belongs to the Dunhuang culture and art circle, and unique in its own personality, the uniqueness of its historical position, cultural development of the internal drive, the diversity of historical relics, cultural aesthetics of the breeding, are manifested in its own unique charm, brilliant, radiant rich diversity of characteristics. Guazhou art is rich in resources, aesthetic culture is developed, but for a long time, the research on aesthetic thought in Guazhou traditional culture is very weak, resulting in the Guazhou aesthetic spirit rich in emotional and spiritual depth can not be well presented in theoretical form, and many potential ecological civilization concepts and their values have not been excavated and activated. The aesthetic culture of Guazhou was y influenced by Zhang Zhi, the sage of grass. From the cultural roots, it can be seen that the traditional culture of Guazhou has been accumulated through the vicissitudes of life, and the traditional culture of China, but the ancient Guazhou is a fascinating piece of feng shui treasure, where there are a lot of outstanding people and places, and a large number of heroes have appeared on the stage of culture since the Han Dynasty, and the cursive writing represented by the Cursive Sage Zhang Zhi was once popular for a while, and at that time, people "dedicated themselves to the task of drilling hard and leaning high, forgetting their fatigue, and practicing their art. Drilling hard and high, forgetting their fatigue, vigilant at night, oblique food. Ten days a stroke, months several pills of ink. Leaders like soap, lips and teeth often black. With the seat, no time to talk about the play, show fingers scratching the ground, to grass 60000 wall, arm through the skin scraping, fingers and claws broken, see the cheeks bleeding, still not stop." People on the grass saint Zhang Zhi cursive art of recognition and practice has reached the level of our descendants sigh. Guazhou was once known as "the world's wind reservoir", people have more expectations for the ecology of the living environment, has been deserted in different dynasties of the fifty-five ancient cities, tell us the hardships and difficulties of life, the different styles of the city of the different ethnic groups of the living area. Therefore, an important part of Guazhou traditional culture is the ecological culture, and its aesthetic culture is nurtured in the overall ecological culture circle, and its cultural ecosystem has "isomorphism". At present, Guazhou aesthetic culture starts from the observation of nature and the feeling and celebration of life, and gradually develops a rich Guazhou aesthetic culture. In Guazhou aesthetic culture, some rituals, folklore, cave modeling, mural color, algae well patterns and decorations and other aesthetic symbols, often a metaphor for the "ecological" connotation, the reason why a thing is "beautiful", mainly from the ecological function of the object. For example, common in the Yulin Cave, Thousand Buddha Cave and other caves mural on the belt, hat, boots and other clothing on the totem, patterns, and a variety of symbols, decorations, etc., are not some kind of simple form of beauty, but to life as a prototype in the GuaZhou in the process of the long history of the development of the process of their cognition of and reverence for nature and life as a concept of concepts into the form of the art of the results of the abstract form of the ecological ethics of the GuaZhou accumulated. of Guazhou's ecological ethics. In Guazhou's traditional culture, what conforms to the concept of ecology is "beauty", which is the basic element for the establishment of Guazhou's sense of aesthetics. Since Kant, aesthetics has established a relatively stable relationship between beauty and form, and after the 20th century, formalist aesthetics became the mainstream discourse of aesthetics. However, in Guazhou's aesthetic culture, the prescriptive nature of "beauty" is not formal but ecological, and the spiritual core of Guazhou's aesthetic culture is precisely its ecological character, which is different from the Western aesthetic tradition, and also different from the aesthetic experience and character of Han Chinese tradition. Under the classical aesthetic discourse system, the prescriptive nature of "beauty" often has a complex and secretive cultural accumulation process, and is more closely related to power and the interests of a particular class. For example, the supporter is the local power elite at that time, of course, the general public is even more important. But in Guazhou's aesthetic culture, the relationship between "beauty" and "ecology" is a more essential relationship. Guazhou aesthetic culture in the historical development of the power, a particular class of interest and other factors, but its cultural roots are still ecological, its roots are y rooted in the Guazhou original pure ecological consciousness and concept. Because of the strength of poplar, the fragrance of jujube, the gracefulness of red willow, the uprightness of poplar and so on, they are all infused with soul in their own lives, and people's lives, as for the ecological aesthetics of Guazhou's five major cultural brands to lay the foundation. Ecological aesthetics and humanistic aesthetics reflect each other, historical aesthetics and aesthetic aesthetics set each other off, which will become an important part of the aesthetics of the motherland.

? Guazhou aesthetic culture is y nourished by the border aesthetics, it can also be said that Guazhou unique border ecological environment nourished the border poets. The border should include 156 kilometers of the Great Wall of Han Dynasty, 70 beacon flints, 3 barricades, the Yumen Pass of Tang Dynasty, as well as fifty-five ancient cities such as Luoyang City. Border culture should be y excavated related to border poems. The Yumen Pass of the Tang Dynasty, as we know it, is located in the territory of Guazhou. Chinese border poets mainly depicted the scenery of the border and reflected the life of the soldiers on the border. There were already some border poets in the Han, Wei, and Six Dynasties, and their number increased in the Sui Dynasty, and was further developed by the Four Heroes of the early Tang Dynasty and Chen Zi'ang, and matured fully in the Sheng Tang Dynasty. Poets such as Gao Shi, Cen Sen, Wang Changling, Wang Zhilu, Wang Han and so on left their masterpieces for the ages. Gao Shi's powerful and vigorous writing style is full of the spirit of the times, which is unique to the Shengtang period, and is full of the spirit of progress and vigor. "The desert is poor in the fall, the grass on the border is weak, and the soldiers are scarce in the lonely city at sunset. His poems are straightforward and unadorned, characterized by seven lines of song, most of which are about life on the border. Cen Sen, with the ambition to build up a career outside the border, went to the border twice, and lived in the frontier army for six years before and after the military, so he had a long-term observation and experience of the icy and snowy scenery outside the border where he lived in the battlefield. He passionately sang the praises of the fighting spirit of the border generals, such as "Luntai song to send Feng Daifu out of the division of the western expedition", wrote the generals to go forward, fighting the sands of the snow sea of the magnificent scenes. "The four sides of the drums and snow sea surge, the three armies shouted yinshan move", the generals and soldiers defiantly, full of the spirit of loyalty and courage and patriotism. Another example is in "Walking the Horse River Row to Send Off the Division on the Western Expedition," in which the poet depicts the generals' tense pre-war march in the wind and snow: "The general's golden armor is not taken off at night, and in the middle of the night the marching gaols are set aside, and the wind is like a knife and the face is like a cut." Cen Shen also exposes the unevenness of bitterness and happiness in military life. In his Song of General Gai at Yumen Pass, he describes the life of a frontier general as "A warm room with embroidered curtains and a red fireplace, woven into a wall-covered woolen rug. In front of the lamp, the maidservant poured out a jade pot, and the gold boring was messy and flushed. The purple sash and golden badge tend to the left and right, asking that is the Cangtou slave". On the other hand, the soldier's life is "the soldiers are often bitterly hungry, and the humble food is not successive". Cen Sen wrote about the magnificent mountains and rivers of the western frontier of the motherland, and gave vivid and exaggerated artistic depictions of the ever-changing frontier scenery, such as the "Snow Song Sending Judge Wu Back to the Capital," "Suddenly like the spring winds of the night, a thousand trees and thousands of pear blossoms," which was written about the border snow and wind, but it gave people a feeling of boundless spring. There is a song titled "Clover Beacon": "Spring comes at the edge of the Clover Beacon, and tears stain my scarf on the Hu Lu River. My girlfriend only remembers each other, but I don't see the sadness of killing people in the battlefield." Cen Shen's poems are rich in imagination, novel in meaning, majestic in momentum, strange in style, magnificent in diction, and characterized by romanticism. Cen Shen's main ideological tendency is the heroism of generously serving the country and the optimism of defying difficulties; artistically, his poems are majestic, rich in imagination, exaggerated and bold, colorful, novel in meaning and craggy in style. He was good at depicting the magnificent and colorful scenery of the border and expressing his bold and spirited feelings. Wang Changling, known as the "Sage of Seven Styles", is also a famous poet of the border, "Marching from the Army" and "Out of the Seaside" are his masterpieces, "Friends and relatives in Luoyang ask for each other, and a piece of the heart of ice is in a jade pot." It is a famous line in "Farewell to Xin Jian at Hibiscus Tower" that has been recited throughout history. Wang Zhihuan is also an important poet of the border area, his Liangzhou Lyrics shows the grief of a soldier who has been in exile for a long time and misses his hometown, while Ascending to the Stork's Bird Tower hints at the philosophical principle of life: "To see beyond the thousand miles, to climb higher," and so on, which gives people infinite enlightenment. Wang Han's "Liangzhou Lyrics", "Grapes and wine in the evening cup, want to drink the pipa right away. The drunken gentleman does not laugh in the battlefield, and how many people have returned from ancient battles. We are all familiar with these famous poems.

Guazhou aesthetic culture in the development of history was once y influenced by Buddhism. Although Buddhism is foreign, but the stone of other mountains can attack jade. The spread of Buddhism in Guazhou should be the Han Dynasty Zhang Qian mission to the West to open up, Buddhism and Guazhou people's lives are closely related to the localization of Buddhism in Guazhou land to be skillfully realized, Xuanzang's sermon is an important boost, and add light and color, ivory Buddha is a typical physical evidence. Guazhou County, 6 kilometers northeast of the discovery of ancient altar ruins is the best-preserved domestic era of the earliest ancient Tantric Buddhism, one of the ground remains. It should be said that GuaZhou Buddhism is in GuaZhou forefathers borrowed Buddhism content after processing and transformation of knowledge of nature, transformation of nature, adapt to the natural survival practice with intuitive, chaotic, analogical and other characteristics of the religious system. The Buddhist story of a woman getting married at 500 years old and going to the grave at 800 years old is the reproduction of people's beautiful ideals after endless lamentations about the shortness of life, and the clothes can be grown on the trees, which should be the hopeful spiritual support for the hard labor of cotton weaving and sewing. Buddhist religious rituals play an important role in the formation and development of the history of Guazhou aesthetic culture. From the perspective of Buddhist rituals and the origin of art, Buddhist culture nurtured some of the early art forms in Guazhou, making the hazy ecological consciousness and ecological ethics formed naturally by Guazhou people in the process of their existence become more sacred and ceremonial, and the aesthetic consciousness was solidified by symbols and rituals. Of course, there is a complex and long-term accumulation process here, and for this complex accumulation and transformation process, it is necessary to carry out a more systematic art anthropological investigation, to explore and interpret the ecological orientation and connotation of the metaphors in some rituals, totem symbols, plastic arts and other aesthetic phenomena and symbols, so as to connect the ecological map of Guazhou's aesthetic culture.

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In the past research on Guazhou aesthetics, some scholars used "the unity of man and nature" to characterize Guazhou aesthetic culture. In fact, this is not enough to accurately describe the characteristics and structure of Guazhou aesthetic culture, because this phrase can also describe the Taoist culture of the Han Chinese people as well as the aesthetic cultures of other ethnic groups. Guazhou's aesthetic culture is based on its view of people, nature, and heaven and earth, the Buddhist sutra, and the karmic view of life that has been formed over time, that is, "heaven, earth, and people" are "**** born". The "*** life" is the core category of Guazhou traditional culture, and also constitutes the core category of Guazhou ecological aesthetic culture. 1992, the State Council approved Anxi County as a national nature reserve of extremely cold desert, to protect and develop rare wildlife resources, is the first national nature reserve of extremely arid desert in the country. Studying the biological chain of the nature reserve, we can know that the living organisms are "**** born" with each other, so they can be related to each other by analogy. Through this, we can find the traces and veins of the development of Guazhou's aesthetic culture. Guazhou's aesthetic culture follows the basic ecological ethical law of "*** birth", which generates Guazhou's ecological aesthetic concepts, categories and paradigms that are unified in itself. Because of each other's "*** birth", the aesthetic subject and the object in Guazhou's aesthetic culture often constitute a kind of strong and deep emotional relationship, and this kind of intervening emotional relationship is based on the deep emotion of each living organism's "*** birth", so its aesthetic emotion often has a Han Chinese character. Therefore, its aesthetic emotion often has a deep, bleak, lonely, sad romantic spirit of the Han national aesthetic culture.

? It is on the basis of this ecological aesthetic, Guazhou is based on regional characteristics of the cultural brand, highlighting the construction of cultural industrial parks, cultural heritage protection and inheritance, high-quality festivals and events, public **** four key cultural services, grass saint's hometown of the Cultural Industrial Park as the basis, play calligraphy popularization, training, exhibition functions, and constantly enhance the cultural connotation of the industrial park height, to create Zhang Zhi cultural base. Xuanzang scripture museum as the basis, to carry out the memory of the master, the Silk Road send love, Buddhism meditation, folklore experience activities, to create Xuanzang cultural base. To lock the Yangcheng national archaeological site park construction as a leader, the implementation of the ancient city protection and development projects, to create a cultural base in the ancient city of the border. Shuangta Lake, Mushroom Terrace, wave Chai ditch natural landscape development as the basis for vigorously improving infrastructure, to create an ecological cultural base. With the Red West Road Army Anxi Battle Memorial Square as the basis, supplement the red education content, deepen the red education theme, carefully designed activities carrier, to create a national patriotism education base. With the planning and construction of wind power culture sightseeing park, mining culture experience park as the basis, the organization of desert wind power sightseeing, mining industry viewing, rural memory experience activities, to create a green industrial culture base.

The forging of the five cultural bases will bring new opportunities for the development of Guazhou. Guazhou ecological aesthetic value will be further highlighted. The ecological aesthetic culture of Guazhou can be made to have an important inspirational and ecological aesthetic value in the context of post-modern society. In recent years, ecological issues and ecological civilization have received widespread attention from related disciplines. In the research field of Guazhou philosophy and history of social thought, in-depth excavation and interpretation of Guazhou's ecological consciousness, ecological wisdom, and ecological culture have become one of the research focuses. In this social background and academic context, the "ecology" of Guazhou's aesthetic culture has also begun to be emphasized, but the overall research has not yet been carried out. The study of Guazhou's aesthetics based on the ecological point of view will enable the study of Guazhou's aesthetic culture, which is currently based on the literary aesthetics as the main paradigm, to make a theoretical breakthrough, and enable Guazhou to establish a more complete aesthetic culture with its own cultural roots. This will enable Guazhou to establish a more complete aesthetic value system with its own cultural roots, which will be conducive to the "existence" of Guazhou aesthetic culture with its own simple and profound ecological and aesthetic values in the globalization field of vision, and then actively participate in the construction of the aesthetic value system. The theoretical study of Guazhou's ecological aesthetic culture with specific regional and ethnic characteristics can also provide a diversified basis for the construction of China's localized aesthetics, so that China's aesthetics disciplinary system more comprehensively presents the richness of a multi-ethnic country.