Conceptions of wilderness
Looked at through the lens of the visual arts, nature and wildness have been important subjects in various epochs of world history. An early tradition of landscape art occurred in the Tang Dynasty (618-907). The tradition of representing nature as it is became one of the aims of Chinese painting and was a significant influence in Asian art. Artists in the tradition of Shan shui (lit. mountain-water-picture), learned to depict mountains and rivers "from the perspective of nature as a whole and on the basis of their understanding of the laws of nature… as if seen through the eyes of a bird.” In the 13th century, Shih Erh Chi recommended avoiding painting "scenes lacking any places made inaccessible by nature."
The idea of wilderness having intrinsic value emerged in the Western world in the 1800s. British artists John Constable and JMW Turner turned their attention to capturing the beauty of the natural world in their paintings. Prior to that, paintings had been primarily of religious scenes or of human beings. William Wordsworth’s poetry described the wonder of the natural world, which had formerly been viewed as a threatening place. Increasingly the valuing of nature became an aspect of Western culture.
Wilderness was traditionally viewed as being a place to fear and avoid. It was the place where monsters and the unknown existed. Over the course of the 19th century wilderness became to be viewed not as a place to fear but a place to enjoy and protect, hence came the conservation movement in the latter half of the 19th century. Rivers were rafted and mountains were climbed solely for the sake of recreation, not to determine their geographical contexture. This was a profound shift in wilderness thought. It reached a pinnacle in the US in the 1960s with the passage of the Wilderness Act of 1964, that allowed for parts of U.S. National Forests to be designated as "wilderness preserves."
The 21st century has seen another slight shift in wilderness thought and theory. It is now understood that simply drawing lines around a piece of land and declaring it a wilderness does not necessarily make it a wilderness. All landscapes are intricately connected and what happens outside a wilderness certainly affects what happens inside it. For example, pollution from Los Angeles and the California Central Valley smog up Kern Canyon and Sequoia National Park. The national park has miles of "wilderness" but the air is filled with pollution from the valley. This then brings us to the paradox of what a wilderness really is, which is precisely the issue in 21st century wilderness thought.
Looked at through the lens of the visual arts, nature and wildness have been important subjects in various epochs of world history. An early tradition of landscape art occurred in the Tang Dynasty (618-907). The tradition of representing nature as it is became one of the aims of Chinese painting and was a significant influence in Asian art. Artists in the tradition of Shan shui (lit. mountain-water-picture), learned to depict mountains and rivers "from the perspective of nature as a whole and on the basis of their understanding of the laws of nature… as if seen through the eyes of a bird.” In the 13th century, Shih Erh Chi recommended avoiding painting "scenes lacking any places made inaccessible by nature."
The idea of wilderness having intrinsic value emerged in the Western world in the 1800s. British artists John Constable and JMW Turner turned their attention to capturing the beauty of the natural world in their paintings. Prior to that, paintings had been primarily of religious scenes or of human beings. William Wordsworth’s poetry described the wonder of the natural world, which had formerly been viewed as a threatening place. Increasingly the valuing of nature became an aspect of Western culture.
Wilderness was traditionally viewed as being a place to fear and avoid. It was the place where monsters and the unknown existed. Over the course of the 19th century wilderness became to be viewed not as a place to fear but a place to enjoy and protect, hence came the conservation movement in the latter half of the 19th century. Rivers were rafted and mountains were climbed solely for the sake of recreation, not to determine their geographical contexture. This was a profound shift in wilderness thought. It reached a pinnacle in the US in the 1960s with the passage of the Wilderness Act of 1964, that allowed for parts of U.S. National Forests to be designated as "wilderness preserves."
The 21st century has seen another slight shift in wilderness thought and theory. It is now understood that simply drawing lines around a piece of land and declaring it a wilderness does not necessarily make it a wilderness. All landscapes are intricately connected and what happens outside a wilderness certainly affects what happens inside it. For example, pollution from Los Angeles and the California Central Valley smog up Kern Canyon and Sequoia National Park. The national park has miles of "wilderness" but the air is filled with pollution from the valley. This then brings us to the paradox of what a wilderness really is, which is precisely the issue in 21st century wilderness thought.
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