Weather is inseparable from human existence, and the aesthetic activity related to the weathe is a common aesthetic phenomenon.There are numerous literary and artistic works describing fog in ancient and modern times, both in China and aboard. Edward Bullough analyzes the steps and roots of the conversion of sea fog into aesthetic objecs when he discusses the concept of “psychological distance”, showing that the haze can also become the aesthetic object in theory. With the frequent occurrence of the hazy weather in China over the past two years, there are more and more aesthetic phenomena related to haze.Among them, the APEC blue has become a typical aesthetic phenomenon associated with the hazy weather. This emerging aesthetic phenomenon has fully illustrated the rationality of the aesthetic proposition that all virgin nature is aesthetically good, which inspires us to criticize the theoretical fallacy of the practical aesthetics' core proposition, "the humanization of nature”, and promotes us to put forward “the naturalization of nature” as the core proposition of ecological aesthetics. The aesthetic phenomenon associated with haze not only indicates a profound aesthetic change, but also strongly promotes this change. Thinking about the hazy weather from the perspective of ecological aesthetics will arouse our introspection and criticism on the “cultural evils” opposite to civilization. We should pay close attention to the direction of the human civilization development,and promote the construction of ecological civilization from the angle of ecological aesthetics.