曾繁仁生态存在论美学的提出是人类由工业文明向生态文明转型的学术回应，有着强大的时代背景和深刻的学理渊源，同时也是对现实生态危机与中国美学学术焦虑的应对；其思想切入点在于人与自然的和谐共生及人、自然与社会应遵循的生态规律，三者的有机结合升华为一种超越现象界的、不在场的“存在”层面，从而营造美好的精神家园，获得高层次的情感慰藉和精神升华。生态存在论美学是在生态存在观哲学基础上产生的新型美学思想；它的视角是把审美当作人最根本的生存方式。曾繁仁的生态存在论美学的提出丰富了当代美学，由此而派生出相应的文学生态批评方法；为中外美学思想的交流搭建了一座平等对话的平台，打通了中西美学的交流通道。%Ecological aesthetics is put forward by Zeng Fanren is the academic responses that is the transformation of human civilization from industrial civilization to ecological one ,which has a strong back‐ground and deep theoretical origins ,meanwhile ,and also is the echo to the reality of ecological crisis and Chinese aesthetics academic anxiety ;His cut‐in point of thinking is the ecological harmony between human and nature ,the ecological law followed by human being ,nature and society ,the combination of the three is the distillation of a world beyond the phenomenon ,not the presence of “presence”level ,thus creating a better spirit homes ,high levels of emotional comfort and spiritual sublimation .Aesthetics of ecological on‐tology is a new aesthetics on the basis of ecological philosophical ontology .Its angle of view takes apprecia‐tion of view beauty as the most fundamental way of life .The aesthetics of ecological existence is presented to enrich the contemporary aesthetics and produces the corresponding way of Ecological literary criticism . It builds a platform for the communication between Chinese aesthetics and foreign one ,which opens the passageway that Chinese aesthetics communicates with the foreign .
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