Although it strives to distinguish itself from western environmental aesthetics and tries to construct a brandnew aesthetic concept covering environment and art,  Chinese contemporary ecological aestheticsis deeply influenced by the western environmental aesthetics and has absorbed largely the western theories. Therefore, itsinheritance of the theoretical framework of western environmental aesthetics on environmental aesthetics versus art aesthetics is inevitable. So, whether the tension between ecological aesthetics and artistic aesthetics can be resolved will be the key to whether Chinese contemporary ecological aesthetics can be established as a brandnew aesthetic concept. From the perspective of the development of western environmental aesthetics, the development of environmental aesthetics within the framework of traditional aesthetics is the crux of the opposition betweenecological aesthetics and artistic aesthetics. Obviously, the value of ecology to aesthetics lies not only in the absorption of ecological concepts in aesthetic methods, but also in the breakthrough of the aesthetic tradition of “art is opposed to nature” since Plato. Only in this way can a new aesthetic paradigm be truly constructed, and the tension between ecological aesthetics and artistic aesthetics can be eliminated.