"Aesthetic biotope"as a key theoretical concept of ethnic aesthetics shares some elements of ecology,ethnology(cultural anthropology)and aesthetics,which has enriched the theoretical impli-cations of ethnic aesthetics."biotope"has two referents:firstly,it indicates that ethnic art as well as its activities is creative and generative,which involves a natural and humanistic ecology in specific fields;secondly,as a core concept of Chinese aesthetics,it refers to"place"or"border",including that in existence in nature and that in the ever-generating process as a humanistic space,affected and transformed by the cultural activities by specific ethnic groups.The obj ects of the study of ethnic aes-thetics are the living and local texts of ethnic cultures and art,the emotional symbols in a specific bio-tope representing the integration of culture,nature and humans,whose interpretation and acceptance requires a consideration of the structural relationship in such aesthetic biotope.%"审美生境"作为民族美学的关键性理论话语,集合了生态学、民族学(文化人类学)和美学的共通研究视域,对民族美学研究有重要的理论补充意义."生境"之"生"意在言说特定民族的艺术及其审美活动是创立的和生成的,并关涉着特定场域中的自然生态与人文生态;而"境"或"境界"则是中国美学的核心范畴之一,"境"意指"地方"或"边界",既指涉着自然世界已经现存的地方,也包含着正在生成的人文空间,由特定族群的文化实践所晕染和改造的场域.民族美学的研究对象是"活态"且具有"方言性"的艺术文化文本,是产生于特定生境中的"情感符号",它表征着"自然样态""社会样态"与"生命样态"的互渗与同构;而针对这种特定艺术文本和情感符号的解读和接受,则需要纳入一种"审美生境"的结构性关系体中进行分析和考量.
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