Book review: “AESTHETICS OF ECOLOGICAL CIVILIZATION,” by Wanheng Cheng. Guangzhou: Guangdong People's Publishing House, 2026.
Reviewed by Kaige Wang, May 2026
Abstract
This review examines the key tenets of Cheng Wanheng's book Aesthetics of Ecological Civilization, recently published in China. The book expands our understanding of ecological civilization (EC); in addition to traditional disciplines such as philosophy, economics, and ecology, this book also examines EC through the lens of aesthetics. It comments on Cheng Wanheng's six key propositions, which form the theoretical foundation of the aesthetics of ecological civilization. The review presents the main content of the key sections.
Keywords: ecological civilization, aesthetics, taihe, ecological beauty, ecological aesthetics of urban development, wildlife
Fig. Book cover of Aesthetics of Ecological Civilization
Aesthetics of Ecological Civilization (EC) by Professor Chen Wangheng of the School of Philosophy at Wuhan University was published by Guangdong People's Publishing House in January 2026. This book is the first academic work to systematically expound on the aesthetics of ecological civilization, and Professor Chen Wangheng is recognized as the pioneer of this field. She is one of the pioneers of Chinese environmental aesthetics, and her Chinese Environmental Aesthetics was published in English and received high international acclaim.
Professor Chen has maintained close academic ties with John B. Cobb, Jr., an internationally renowned process philosopher and founding dean of the Institute for Postmodern Development of China, USA. She was invited to participate in the 7th (2013) and 9th (2015) Ecological Civilization Forums chaired by Cobb, where she delivered academic presentations. In the foreword to her book, John B. Cobb praised Aesthetics of Ecological Civilization as "an important contribution to international research on ecological civilization."
The publication of this book marks the expansion of EC research from traditional fields such as philosophy, economics, and environmental science into the realm of aesthetics, providing a new theoretical perspective for EC.
Why a work on the aesthetics of EC is needed?
EC is the most advanced form of civilization following agricultural and industrial civilizations. It does not represent a return to the idyllic pre-industrial era, but rather seeks to harmonize the relationship between humanity and nature, civilization and the ecosystem, on the foundation of high technology. Currently, global research on EC is primarily concentrated in fields such as philosophy, economics, environmental, and political science. However, such fundamental dimension of EC as the aesthetic dimension has long been absent. A society that is ecologically sound yet devoid of aesthetic appeal does not live up to the title of "ecological civilization." Without an aesthetic dimension, the construction of ecological civilization risks becoming a technical project, unable to evolve into an emotional bond of "appreciation and resonance." the aesthetic dimension the aesthetic dimension the aesthetic dimension
Professor Chen Wangheng recognized this theoretical gap and redefined EC from an aesthetic perspective. She argues that the ultimate purpose of building an EC is not a set of quantifiable indicators, but rather the creating of an "emotional universe that is warm, loving, idealistic, and charming."
The six major theoretical innovations of this book
In this book, Chen Wangheng systematically proposes and substantiates six core innovations, forming the theoretical framework of the aesthetics of ecological civilization.
(1) Pioneering the concept of "ecological civilization aesthetics"
Chen Wangheng distinguishes between two forms of EC. Primary ecological civilization, represented by agricultural civilization, achieves the unity of the ecosystem and civilization through human intervention, with its beauty leaning toward simplicity, harmony, and naturalness, while advanced ecological civilization employs high technology to achieve a high-level integration of the ecosystem and civilization in areas such as ecological restoration, green energy, and the circular economy; its beauty is related to the warmth of technology, ecological wisdom, and a sense of the future. This distinction avoids the romanticist fallacy of equating EC with a "return to nature."
(2) Proposing the two forms of harmony: “integrative harmony" and “boundary-defined harmony"
Chen Wangheng proposed that there are two forms of harmony between the ecosystem and civilization. The first is "boundary-defined harmony," which constrains human activities through means such as contracts and laws, accepting the needs of the ecosystem within a specific spatiotemporal scope. The second is "integrative harmony," which leverages high-tech means to achieve ecological improvement and renewal while advancing the development of civilization. "Boundary-based harmony" adopts a strategy of “retreating to advance” and “yield for harmony”, thereby safeguarding the ecological bottom line; "integrative harmony" adopts a strategy of "advancing for harmony" and "creating for harmony."
(3) Transforming the classical Chinese concept of “taihe" into a core category
Chen Wangheng proposed that the concept of "taihe" from classical Chinese philosophy, after undergoing transformation, can serve as the core category for the harmony between the ecosystem and civilization. Derived from the I Ching, "taihe" represents the highest level of harmony in Chinese philosophy; it transcends the opposition of yin and yang and the conflicts among all things, pointing toward the state of supreme goodness of the universe as a whole. The construction of an EC no longer aims at the unilateral interests of any side; it is neither the anthropocentric notion that "nature serves human beings" nor the ecocentric notion that "human beings serve nature," but rather seeks the “common denominator" for the human-nature community. The ultimate goal of this endeavor is an "emotional universe imbued with warmth, affection, ideals, and charm." This objective is, in essence, the unity of truth, goodness, and beauty, wherein ecological laws represent truth, ecological justice represents goodness, and ecological aesthetics represent beauty.
(4) Proposing aesthetic categories such as ecological sublime, ecological beauty, ecological tragedy, and ecological triumph
In traditional aesthetics, the sublime and the beautiful primarily derive from human culture or natural landscapes. Chen Wangheng, however, introduces these concepts into the context of EC, endowing them with new connotations and deriving a set of new aesthetic categories briefly outlined below.
Ecological sublime: This emphasizes the sublime nature of the natural ecosystem. When confronted with the tenacity of natural life, the ingenuity of natural life systems, and the power of the ecological environment, humans perceive awe and spiritual elevation.
Ecological beauty: This notion refers to an aesthetic appreciation of natural objects and ecosystems. It involves experiencing comfort, pleasure, and harmony within natural landscapes.
Ecological tragedy: The conflict between civilization and the ecosystem culminates in the destruction of civilization. At its core, it represents a clash between human aspirations and ecological destiny. When humans, failing to grasp ecological laws, suffer ecological disasters, it gives rise to the sense of ecological loss and melancholy. This evokes the need to follow nature's inherent laws and coexist with it, ultimately moving toward an ecological triumph.
Ecological triumph: The positive outcome of the conflict between civilization and the ecosystem is the reconciliation in which the ecosystem affirms civilization, where humans and nature mutually sustain, assist, and complement one another, representing the ideal realm of EC. By grasping and conforming to ecological laws and achieving a balance between the ecosystem and civilization, humans experience profound joy rooted in the shared well-being of humans and nature.
(5) A systematic exposition of the aesthetic characteristics of production, daily life, and environmental development
Regarding modes of production, Chen Wangheng introduces the concept of "nature-based solutions" (NbS) proposed by The Nature Conservancy (TNC). NbS does not eliminate technology but rather enables technology to mimic, assist, and activate natural processes. From an aesthetic perspective, NbS possess a sense of organic unity, process-based beauty, and vital energy.
Regarding lifestyle, EC embraces simplicity as an aesthetic trend and as a way of life. The beauty of simplicity is essentially a manifestation of cherishing resources, caring for nature, and revering the ecosystem; a simple life not only calls for a green lifestyle but also advocates for a moral character that transcends material desires and embodies spiritual quality.
Regarding environmental development models, Chen Wangheng proposed the concept of "ecological well-being," which represents human's pursuit of the living environment in the era of EC; "well-being" embodies the unity of the ecosystem, society, and aesthetics, as well as the unity of progressiveness, locality, and artistry.
(6) Proposing “establishing the enchantment of the ecosystem"
German sociologist Max Weber used the term "disenchantment" to describe the process of modernization, in which nature is reduced to physical and chemical processes and its mystery of life gradually disappears. However, Chen Wangheng pointed out that the aesthetic experience of EC requires the dimension of "re-enchantment." He advocated "establishing enchantment" for the ecosystem, that is, fully affirming the divine status of the ecosystem. Here, "divine" does not refer to a deity in the religious sense, but rather to that part of nature that can never be fully comprehended or controlled by humans. The wilderness, ancient forests, the ocean, and the starry sky retain their charm because they are inexhaustible. "Establishing enchantment" does not exclude science; rather, it recognizes boundaries for science. This proposition holds significant theoretical value for correcting technological optimism and extreme anthropocentrism.
Key chapter guide
While systematically introducing John B. Cobb's ideas on the green economy and EC, as well as Holmes Rolston's philosophy of wilderness, this book also engages in a profound dialogue between these cutting-edge international concepts and traditional Chinese ideas on EC, thus bridging the theoretical gap between Chinese and Western academic circles. The following seven chapters are summarized below as the key sections of this book.
Chapter 4: The aesthetic realm of EC
Chapter 4 analyzes the core categories of the aesthetics of ecological civilization from the perspective of aesthetic relations. Chen Wangheng first distinguishes between "conformative harmony" and "contradictory harmony"; the former manifests as the synthesis of the ecosystem and civilization, while the latter manifests as the sublime beauty within the process of conflict. She further proposes two forms of harmony: "symbiotic harmony" and "boundary-defined harmony." Symbiotic harmony pursues the mutual transformation and integration of the ecosystem and civilization, while boundary-defined harmony safeguards the needs of the ecosystem through laws. On this basis, this chapter redefines such categories as ecological beauty, ecological sublime, ecological tragedy, and ecological triumph, and posits "taihe" as the highest realm of the aesthetics of EC. This chapter constructs the system of aesthetic categories and framework of aesthetic forms for the entire book.
Chapter 5: Ecological ethics and aesthetic sentiment
Chapter 5 explores how ecological ethics influence and reshape aesthetic activities. Chen Wangheng posits that ecological justice is the core of ecological ethics, requiring humanity to respect the lives, dignity, and will to survive of plants and animals, and to elevate aesthetic concern from individual life to species and even entire ecosystems. On this basis, she elaborates on ecological emotions both warm and require rational restraint, as nature cannot be loved in the same way as a human being. Finally, this chapter expands aesthetic sentiment into a consciousness of "Earth as Home," requiring aesthetics to simultaneously care for all humans, future generations, and all living beings. Ecological justice thus enters aesthetic judgment, providing moral support and a value dimension for the entire book.
Chapter 6: The way of the ecosystem and aesthetic logic
Chapter 6 begins with "Way of the ecosystem" to elucidate that aesthetic logic must conform to ecological laws. Chen Wangheng first examines the intrinsic unity between aesthetic sensation and the state of life. She then proposes that humans share four types of life emotions with animals and plants: emotions regarding life and death, love, familial bonds, and aesthetic emotions, thereby constructing an aesthetic bridge of "shared emotions." Building on this foundation, she introduces the concept of ecological wisdom, arguing that aesthetic experience can enlighten people's understanding of ecological laws. Finally, she distinguishes between the two stances of humanism and ecological stance in the world, proposing three aesthetic forms: "the interconnection of all forms of beauty," "each appreciating its own beauty," and "the shared beauty of all." This chapter liberates aesthetic activity from the traditional anthropocentric framework and establishes an aesthetic epistemology grounded in the ecosystem as its ultimate foundation.
Chapter 7: The way of civilization and aesthetic logic
Chapter 7 begins with a reexamination of humanism in the era of EC and introduces the concept of "ecological humanism," whose creative beauty is the "beauty of Great Harmony" — the unity of civilization and the ecosystem. Chen Wangheng further discusses the two dimensions of technology: the humanistic dimension and the ecological dimension. She argues that technology should respect the ecosystem, follow natural laws, and implement "nature-based solutions." She also elaborates on the three great values—truth, goodness, and beauty—in the era of EC, ultimately pointing toward an "emotional universe imbued with warmth, affection, ideals, and charm." Furthermore, this chapter critiques traditional economics and "GDP worship," advocating for a happiness-oriented ecological economy. Aesthetic ideals are thus unified with economic development, technological progress, and human happiness.
Chapter 16: The ecological aesthetic of urban development
Chapter 16 applies the theory of ecological civilization aesthetics to the field of urban development. Chen Wangheng proposes that cities should embody four types of ecological qualities: ecological livability, ecological "nostalgia," ecological memory, and ecological tranquility. Ecological well-being emphasizes a sense of openness and harmony between humans and nature; ecological "nostalgia" points to an emotional attachment to the natural homeland; ecological memory requires the preservation of natural and cultural environments within the city; and ecological tranquility encompasses both ecological safety and auditory peace. Together, these four qualities constitute the aesthetic ideal of an eco-civilized city and provide practical aesthetic guidelines for urban planning and construction.
Chapter 26: Valuation of wilderness
Chapter 26 evaluates the values of wilderness from the Western cultural perspective, while also pointing out that wilderness possesses a divine and sacred nature in ancient Chinese culture. She further argues that industrial civilization has "disenchanted" the wilderness, whereas EC requires "re-enchantment" and "re-creation of enchantment"—that is, the reconstruction of the wilderness's divine, philosophical, sacred, and aesthetic qualities. The wilderness is thus established as the root of EC and the archetype of aesthetic ideals, providing the book with an ontological foundation for the ecosystem that transcends utilitarianism.
Chapter 27: The concept of wilderness in ancient China
Chapter 27 explores the ideal of wilderness in ancient Chinese culture, covering its six dimensions: ancestor worship, political culture, scientific research, artistic aesthetics, Feng Shui concepts, and the spirit of Heaven and Earth. Chen Wangheng refers to Mountains and Seas (Shan Hai Jing) to demonstrate the sacredness of the wilderness as the origin of the Chinese nation; the Chronicles of King Mu (Mu Tian Zi Zhuan) to reveal the complex relationship between the wilderness and royal governance; texts such as Commentary on the Waterways Classic (Shui Jing Zhu), and The Travels of Xu Xiake (Xu Xia Ke You Ji) to showcase the scientific value of the wilderness; landscape poetry and painting to elucidate the aesthetic significance of the wilderness; and Feng Shui theory and the worship of Heaven and Earth to reveal the spiritual and symbolic meaning of the wilderness. This chapter extends the theoretical roots of EC aesthetics into the depths of traditional Chinese culture, demonstrating that the concept of wilderness is not unique to the West and providing indigenous intellectual resources for Chinese ecological aesthetics.
Conclusion
Aesthetics of EC introduces aesthetics into the core issues of EC through an original theoretical framework. The aesthetics of EC is still a new field in which Chen Wangheng's pioneering work deserves recognition. This book tells us that EC is not merely a matter of technology and policy, but also one of aesthetic ideals and emotional pursuits. True EC should be a world where both humanity and nature are imbued with beauty. In his preface to the book John B. Cobb observed that China is the place in today's world which is most likely to realize EC, and Chen Wangheng's work provides support for this endeavor from the perspective of aesthetics. Cobb concludes his preface with an earnest call: "Let us join hands and strive together for the common cause of humanity—the cause of ecological civilization!" We look forward to the publication of the English edition of this book, so that more international readers may read it.
Reviewer:
Kaige Wang
master's student in Chinese philosophy, the School of Humanities, Shenzhen University (China). Her main research areas include Pre-Qin philosophy and comparative studies on the theoretical construction of Chinese religion.
Suggested citation note:
Wang, K (2026). Book review of Aesthetics of Ecological Civilization by Chen Wangheng. Ecopoiesis: Eco-Human Theory and Practice, 7(2). - URL: http://en.ecopoiesis.ru (d/m/y)