Modern aesthetics of culture did not include the cultural beauty of the post-cultural beauty right

Modern Chinese aesthetics was created and developed under the influence of Western aesthetic thought. From a broader perspective, it is a product of the exchange, collision and fusion of Chinese indigenous culture and Western foreign culture. The collision and fusion of Chinese and Western cultures is both the cultural background for the emergence and development of modern Chinese aesthetics and the ideological resources for the theoretical construction of modern Chinese aesthetics. The characteristics of modern Chinese aesthetics and its value and significance are not only to be found in the political economy of the society, but also to be answered from the culture. Culture is both objective and subjective; its external form is objective material existence, while its internal form is subjective psychology (cultural psychological structure); its essence is spiritual, and thus its role can only be realized through individual psychological activities. Culture has the most direct and close relationship with all academic, artistic and aesthetic activities. Modern aesthetics in China has a history of one hundred years, and the sages have made various attempts and explorations on the construction of the discipline of aesthetics and the construction of aesthetic theories, leaving behind a rich legacy. However, due to the lack of a true understanding of the characteristics, values, vitality, strengths and weaknesses of both Western and traditional Chinese cultures, they are often trapped in a state of blindness in the cultural exchanges between the East and the West. For a long time, people generally believed that the science and technology of Western countries were ahead of ours, and therefore their literature and art were also more advanced than ours. It was out of this understanding that the May Fourth "Literary Revolution" used the tragic spirit and realistic approach of Western literature and art as the standard to criticize and reject Chinese literature, drama, novels, paintings and their spirit of reunion. This understanding gradually changed after the 1930s, but after the 1950s there was again a copying of Soviet aesthetics and literary theories. In the 1990s, on the one hand, people reflected on the shortcomings of the former Soviet Union, but on the other hand, they adopted Western postmodernism to replace their own thinking and creation, and still at the cost of denying tradition. This is worth pondering. Chinese and Western literature and art belong to two very different cultural systems, each with its own national characteristics, and one cannot deduce from the fact that Western science and technology are advanced that Western literature and art are equally advanced. There is no life in imitating and copying foreign cultural models, concepts and methods without combining them with one's own traditional culture, melting them and innovating them. From the beginning of the 20th century, China began to disseminate Western aesthetics, and in the 1920s it began to offer aesthetics courses in institutions of higher learning, and successively published various aesthetic principles or introductory treatises on aesthetics and a variety of articles on aesthetics, but qualitatively they were copied from the Western (including the former Soviet Union) model, and the categories, propositions, and systems were Western or imitated by the West, while the categories, propositions, and important ideas and concepts created by our ancestors remained unattended and unchallenged. The categories, propositions and important ideas created by our ancestors have been left aside for a long time. This is the inevitable result of the influence of "European cultural centrism". Of course, we must learn from Western aesthetic theories, which will give us a lot of inspiration and provide us with rich intellectual nourishment. However, the Western aesthetic theory cannot replace our own aesthetic theory construction, because the Western aesthetic theory is the crystallization of Western culture, and is not universally applicable to the whole world. Neither should we attempt to construct a common aesthetic theory for the whole world, which is also impossible. It is also impossible to do so because cultures are pluralistic, each with its own national characteristics, and it is impossible to have exactly the same laws. At the same time, aesthetics does not reveal the objective laws of nature, but reveals the spiritual and emotional world of human beings, and belongs to the science of humanities. The humanistic spirit, such as the way of thinking, the way of life, the value orientation, the aesthetic psychology, the aesthetic style, the ultimate concern, etc., are very different in different cultures. Because of this, the construction of aesthetic theories with Chinese characteristics must be rooted in its own cultural soil, and draw heterogeneous factors from Western aesthetics and even other national aesthetics, and their inherent fine traditions of fusion, collision, digestion, so as to be innovative. To measure the actual history of Chinese aesthetics according to the Western model, and to use Western aesthetic standards to take away Chinese ideological materials, is to cut the feet to fit the shoes. For example, when some people write about the aesthetic thought of Confucius, Mencius, Laozhuang, they talk about their understanding of the nature of beauty. In fact, the important figures of Confucius, Mencius, Laozhuang, and even the whole history of Chinese aesthetic thought were not interested in the very abstract nature of beauty, and seldom talked about this kind of problem directly. What they were interested in was the realm of beauty, the spirit of beauty in form. In their pursuit of this spiritual realm, they did not engage in abstract discourse and logical deduction like Plato, but rather in appreciation, experience, realization, and insight, and therefore did not see a logical system in the form. Therefore, to talk about how Confucius, Mencius, and Laozhuang discuss the essence of beauty is undoubtedly a useless endeavor. Of course, Chinese and Western aesthetics and Chinese and Western literature and art have many similarities, and it is possible and necessary to seek common ground, to corroborate each other, and to complement each other. But more importantly, there are also differences and even mutual opposition, which should not be ignored. Because of the differences between Chinese and Western cultures, Chinese and Western aesthetics have their own forms of argumentation, and Chinese and Western art have their own national styles. Western art takes natural science as its theoretical foundation, focuses on realistic and objective depiction, and results in epistemology; Chinese art takes moral philosophy as its theoretical foundation, focuses on writing and subjective expression, and results in educational practice; their ways of thinking, methods of expression, and value orientation are very different, and each has its own strengths and weaknesses. It can be said that there are no identical categories, propositions and forms of argumentation between Chinese and Western art. It is precisely for this reason that dialog and exchange between the East and the West, complementing each other's strengths and weaknesses, and integrating the new are necessary for development and creativity. Therefore, in-depth and systematic cross-cultural research is an indispensable cognitive prerequisite for future cultural development, and it also unfolds a broad cultural background and provides sufficient conditions for aesthetic innovation. Comparison of Chinese and Western aesthetics on the basis of cross-cultural research can only be profound and in line with the historical reality; it is only through comparison that we can recognize the advantages and disadvantages, choose the good and follow the good, absorb and digest the old and incorporate the new. The melting of Chinese and Western aesthetics is the main way to construct future aesthetic theories in China, and it is also the general trend of historical development. In view of the past experience, the comparative study of Chinese and Western aesthetics should be done: First, the melting of Chinese and Western aesthetics, for us must be built on the basis of traditional Chinese culture, can not be cut off from the history, otherwise the development of the future aesthetics will lose the foundation, there is no growth and development of the conditions. In other words, the future development of Chinese aesthetics must not only absorb and digest the heterogeneous factors of Western aesthetics, but also take root in the soil of traditional culture in order to have its own originality and national characteristics. Such a comparison between China and the West opposes both "wholesale westernization" and "holding on to what is missing". Secondly, the comparative study of Chinese and Western aesthetics requires researchers to adopt an equal dialogical approach. In order to do this, the key lies in the respective superiority, limitations and vitality of Chinese and Western cultures must have a clear understanding, in order to remove the influence of "European cultural centrism", in order to correctly grasp the standard of comparison. Thirdly, the comparison of Chinese and Western aesthetics requires researchers to have a basic understanding and experience of Chinese and Western cultures, and to have systematic and in-depth research on the scope of their own comparison in order to achieve a certain depth and make unique achievements. Deepening Approaches to the Study of Chinese Aesthetics Xue Fuxing The study of Chinese aesthetics in the modern sense began with Wang Guowei, who examined the classical Chinese aesthetic tradition with modern Western academic methods and concepts, and discovered things that were difficult to find under the traditional academic vision. Since then, a new generation of scholars, represented by Zong Baihua and Zhu Guangqian, has come up with many insightful understandings in terms of a deeper understanding of the Chinese aesthetic spiritual personality. On the whole, however, the early part of the 20th century was a period of centralized importation of Western aesthetic theories and attempts to construct basic theories, while the study of Chinese aesthetics was at a stage of sporadic discussion and not yet systematic. Since the 1980s, the study of Chinese aesthetics has entered a new stage of comprehensive and systematic research, and a number of influential works on the history of Chinese aesthetics have appeared, as well as numerous works on interrupted history and thematic research, and even more single papers have been published. From then on, Chinese aesthetics, aesthetic theory and Western aesthetics were regarded as indispensable branches of aesthetics research, and Chinese aesthetics was initially established as a sub-discipline of aesthetics, which systematically sorted out the general outline of the development of the aesthetic concepts of the Chinese nation. This breaks the situation of taking Western aesthetics as aesthetics in the early part of the 20th century, pays full attention to the national cultural individuality of human aesthetic consciousness, and makes the ecological structure within the discipline of aesthetics richer and more reasonable, which is of great significance to the deepening and healthy development of aesthetics in China. Now, the study of Chinese aesthetics has become a fruitful field. Of course, the study of Chinese aesthetics in the late twentieth century also had its limitations. There are two main ones: first, the foundation is weak. According to reason, the establishment of a discipline from the specific, microscopic thematic empirical research, only the accumulation of the amount of thematic research to a certain extent, there will be a macro-historical summary of the results of the general history. However, the study of Chinese aesthetics in the late twentieth century was exactly the opposite, and it began with a macroscopic research stage dominated by general historical research. The authors have spent several years to describe thousands of years of aesthetic traditions, and the degree of sloppiness can be imagined. Even a single academic paper, but also to the majority of large topics, the lack of solid empirical research on the topic, there is a congenital deficiency of the disease. Second, the conceptual research. Most of the current Chinese aesthetic research stays in the stage of aesthetic concept combing, the concept is only the final stage of human aesthetic activities, the most abstract form, aesthetic research, if it only stays in the aesthetic concepts, no more pristine, rich aesthetic practice materials to support, will always be a rootless seedling. This point has now begun to be recognized by the aesthetics community. The study of Chinese aesthetics is in a new stage of self-deepening, and there are four specific ways to do so: to turn the macro into the micro, out of the general history complex, and back to the specific, empirical thematic research, and re-do the history of the interrupted history, the thematic history of the research work, to make up for the lack of sages, and to lay a more solid foundation for the healthy development of Chinese aesthetics. Now, we still know little about the specific situation of the development of Chinese aesthetic consciousness, such as the history of Chinese natural aesthetics, craft aesthetics, life aesthetics, these very meaningful topics, is yet to be carried out in-depth and systematic research. Only after the results of these specific and generally enlightening thematic studies come out, we will have a more realistic, updated and higher understanding of the development of Chinese aesthetic consciousness. To turn concepts into activities, we should get out of the theoretical texts and go back to the vivid and rich aesthetic practices of the public, to the more simple and concrete artifacts and written materials of aesthetic activities, and then re-do the systematic categorization and organization work. The history of aesthetics is first of all the history of real aesthetic activities, and the sorting out of concepts is the end rather than the beginning. Aesthetics is the phenomenology of human sensibility, analyzing the aesthetic elements from the rich and complex reality of life activities, and combing the traces of aesthetics from the vast sea of artifacts and documents is indeed a piece of drudgery, but not without so much effort, the study of Chinese aesthetics will not be able to deepen, and can only ever be in the pre-scientific stage. This is in fact a way of supplementing the empirical thematic studies to surpass the conceptual studies of the late 20th century. To solve the universal problem of human aesthetics with the particular material of Chinese aesthetics. For a long time, we have regarded the full demonstration of the unique aesthetic spirit of the Chinese nation as the only goal of the study of Chinese aesthetics, which is in fact only the preliminary of the study of Chinese aesthetics. If we only take the presentation of aesthetic national cultural individuality as our duty, Chinese and Western aesthetics will always speak on their own and will not be able to form a human *** enjoyable aesthetic knowledge system, and the study of Chinese aesthetics will lose its universal academic value. If Chinese aesthetics research does not have a universal academic vision that transcends the national culture, and if there is no basic theory of aesthetics to guide it, it will be difficult to deepen and improve the empirical research. Therefore, based on the unique materials of Chinese aesthetics, we can put forward some issues of universal significance for the study of the history of the development of human aesthetic consciousness, solve some problems that have not yet been raised in Western aesthetics, or have been raised but have not been able to solve them well, and integrate Chinese traditional aesthetic wisdom into the system of enjoyable knowledge of human aesthetics*** so that we can enhance the academic value of the study of Chinese aesthetics, the so-called "lost words", "lost voices", "lost voices", "lost voices", and so on. The so-called "aphasia" of aesthetics, the lack of equal rights to dialog, and the separate aesthetics of Chinese and Western aesthetics are problems that will gradually be solved. Insist on the secular nature of aesthetics and carry forward the Chinese aesthetic tradition. Aesthetics is the starting point of the spiritual life of human beings, and the present sensual position determines that it is always the most secular spiritual life. China has a profound cultural tradition of enjoying life through aesthetics, and natural aesthetics, craftsmanship aesthetics, life aesthetics, and art aesthetics have been fully developed in classical Chinese culture, becoming an important part of the spiritual life of the Chinese nation. These need to be carried forward in contemporary society. Compared with the Western tradition of using aesthetics as truth and faith, the Chinese tradition of using aesthetics as a feeling of joy is more in line with the nature of human aesthetic activities. Chinese aesthetics has wonderful ideological and cultural resources in both aesthetic concepts and aesthetic practices, therefore, the study of Chinese aesthetics should have excellent prospects in promoting the construction of basic theories of contemporary aesthetics and realistic humanistic care. The Construction of Aesthetic Education Disciplines in the Perspective of Modernity Zeng Fanren The development of aesthetic education disciplines has never been closely related to the pace of development of human society. Before industrialization, human society had only aesthetic activities but no aesthetic discipline in the strict sense. The emergence of the discipline of aesthetic education should be marked by the publication of Schiller's "A Brief Introduction to Aesthetic Education" in 1793, which was intended to solve the "division of human nature" brought about by capitalist industrialization through aesthetic education. After World War II, Harvard University and other famous schools in the United States, in response to the technological, instrumental and vocational tendency of education, put forward a "liberal arts education" that included art and other humanities. standardized and included in the curriculum system, proposed discipline-based art education. In China, the first to advocate and implement the construction of the discipline of aesthetic education was Cai Yuanpei, who listed aesthetic education as one of the five aspects of the education policy. At the beginning of the founding of New China, China put forward the cultivation goal of "all-round development of morality, intellect, physique, aesthetics and production technology". However, it was after the reform and opening up that the construction of the discipline of aesthetic education really took off. China not only formally wrote aesthetic education into the education policy, but also mentioned it as "an integral part of quality education" and "has an irreplaceable role". The Ministry of Education issued the "Overall Plan for Art Education in National Schools (1998-2001)" and the "National Plan for the Development of Art Education in National Schools (2001-2010)" in 1998 and 2002, the former with the nature of setting things right and restoring the discipline of aesthetic education, and the latter based on the construction and development of the discipline, with the connotation of "aesthetic education" and "aesthetic education". The first plan was of a nature to reorganize and restore the discipline of aesthetic education, while the latter plan was based on the construction and development of aesthetic education, with rich connotations and practicability. At the same time, China has also organized and set up national art education committees and academic organizations related to aesthetic education, and published a considerable number of teaching materials and treatises on aesthetic education, which has greatly promoted the development of the discipline of aesthetic education. As a cross-discipline between aesthetics and pedagogy, the development of aesthetics and education will greatly promote the development of these two related disciplines: from the perspective of aesthetics, the development of aesthetics and education will enable the discipline of aesthetics to return to the world of human life from the abstract exploration of essentialism; from the perspective of pedagogy, the development of aesthetics and education has built a bridge to integrate science and humanities education, thus improving the quality and level of quality education. In terms of overall social development, in the face of accelerating industrialization, urbanization, informatization and marketization, the development of the discipline of aesthetic education is a kind of humanistic cure and remedy for the ever-expanding instrumental rationality, spiritual anxiety and market worship. It can be argued that in contemporary times, the development of the discipline of aesthetic education bears the heavy responsibility of cultivating a new generation. From the perspective of long-term construction, the development of the discipline of aesthetic education must be promoted by following the discipline's own laws under the vision of modernity. This requires us to base ourselves on the reality of the dichotomy between "beautification" and "non-beautification" of human existence in the process of China's modernization, and to build the discipline from the necessity of "having an organic body of knowledge, various unique research methods, and a unique research methodology for the discipline". The construction of disciplines starts from the basic requirement of "having an organic body of knowledge, a variety of unique research methods, and a group of scholars who are knowledgeable about the basic ideas of the field of study". In the face of the rapid development of mass media and culture industry in the information age, we should absorb the valuable phenomenology, hermeneutics, existentialism, linguistic aesthetics and cultural poetics in the field of contemporary aesthetics to build a contemporary aesthetic education theoretical system with a new connotation, and to make a comprehensive use of all kinds of resources of aesthetic education in the past, present and future. In ancient China, the value of the long-standing "Neutralization Theory" of aesthetic education lies in the philosophical foundation of "the unity of heaven and man", the convergence and integration of heaven, earth, and man, and finally the high degree of unity between the literary and the qualitative, the external and the internal, and the initiation and the emergence of the "gentleman". The cultivation of the "gentleman". This is a kind of "harmony theory" of aesthetic education that is very different from the ancient Western "harmony theory" of the dichotomy between sensibility and rationality, which has an important contemporary value and should be inherited critically. Unfortunately, the value of this "harmony theory" of aesthetic education has not attracted enough attention from academics for a long time. As for the West, in addition to paying attention to the tradition of "harmony theory" of aesthetic education since Ancient Greece, more attention should be paid to the modern Western culture, especially since the 20th century, which is characterized by breaking through the traditional "subject-object dichotomy" mode of thinking and pursuing "poetic existence" for human beings. In addition to the tradition of aesthetic education, we should also pay more attention to the modern Western aesthetics and aesthetic education trend, especially since the 20th century, which is characterized by breaking through the traditional "subject-object dichotomy" mode of thinking and aiming at the pursuit of the "poetic existence" of human beings. In addition, we should also pay attention to the tradition of aesthetic education thought represented by Wang Guowei, Cai Yuanpei, and Lu Xun since modern times in China, especially to the theory and practice of aesthetic education in the last fifty years, including the new period, which should be emphasized and inherited and carried forward. In this way, a contemporary discipline system of aesthetic education with Chinese characteristics can be built on the basis of many resources. The so-called "independent research method" means that as a cross-discipline, aesthetic education should be based on the unity of theory and application, absorbing the methods and achievements of contemporary psychology, sociology, educational evaluation system and brain science, so as to gradually form a relatively independent research method of contemporary aesthetic education. Among them, it is especially important to emphasize the exploration of contemporary educational evaluation system and the development of brain science. In terms of the educational evaluation system, there are two kinds of educational evaluation test systems: the unified IQ evaluation test system and the individual-centered situational evaluation test system. If the IQ evaluation and testing system is followed mechanically, non-intellectual education such as aesthetic and moral education will definitely be put into an unimportant position, thus taking the road of exam-oriented education. Therefore, only by following the individual-centered situational evaluation and testing system, aesthetic education can have its rightful place. It is only that the specific operation in this regard is difficult and needs to be further explored. Because of the relationship between American education and educational disciplines, it is closely related to psychology, especially with "neuropsychology" and brain science research, such as we are familiar with the American education of the special "development of the right brain", "emotional sublimation", "affirmation of the right brain", "emotional sublimation", "emotional sublimation", "emotional sublimation", "emotional sublimation" and "affirmation of the right brain". For example, we are familiar with the "development of the right brain", "emotional sublimation" and "affirmative emotional evaluation" of aesthetic education, all of which are related to neuropsychology and brain science. Therefore, it is necessary for the construction and development of the discipline of aesthetic education to draw on the results of brain science, so that it has the important support of natural science. As for the "group of scholars with *** knowledge", at present, we should focus on the existing art education team, and take measures through administrative and academic channels to improve their practical ability and level as soon as possible. At the same time, it should also absorb scholars from related disciplines to participate in the research, and gradually form a high quality and sufficient quantity of the academic team of art education that is compatible with the development of the discipline of art education in China. It should be said that, in terms of the needs of the times and the development of the discipline itself, the discipline of aesthetic education in China will gradually mature and achieve greater development. Literary Aesthetics: Problems and Hopes Wang Desheng Literary aesthetics was formally treated as a specific theoretical "discipline" after the 1980s. As an effort in the late development of Chinese aesthetics in the twentieth century after accepting the disciplinary approach of Western aesthetics, the study of literary aesthetics and its disciplinary construction not only tiptoes on the theoretical intention of modern Chinese aesthetics-extending the discursive process of aesthetics into the literary and artistic activities of sensuous images, which has been one of the consistent doctrinal pursuits of Chinese aesthetics since the time of Wang Guowei-but at the same time It is also, to a certain extent, a concrete response and realistic attitude of contemporary Chinese aesthetics to the "Chineseization of aesthetics" and the "construction of aesthetics system". It also reflects, to a certain extent, a specific response and realistic attitude of contemporary Chinese aesthetics to the "Chineseization of aesthetics" and the "construction of an aesthetic system". It is noteworthy that in a short period of time, literary aesthetics has developed on a considerable scale in China. However, precisely because of the short history of literary aesthetics, there are inevitably various problems in its academic development. One of the biggest problems is reflected in the positioning of the discipline of literary aesthetics. If it is said that the disciplinary construction of literary aesthetics initially has a certain "born in time" nature, mainly to emphasize the return of literature and art to its own aesthetic attributes, and thus has a distinct theoretical application attempt; then, as the research process continues to unfold, we can not help but seriously face the problem that literary aesthetics, which has been constructed as a specific discipline or branch of aesthetics, is being treated as a specific discipline or branch of aesthetics, which is being constructed as a specific discipline or branch of aesthetics. Then, as the research process continues to unfold, we cannot but seriously face the question: how can the aesthetics of literature and art, which has been constructed as a specific discipline or branch of aesthetics, determine its own disciplinary nature? In this regard, the various understandings of "what is aesthetics of literature and art" basically tend to think that aesthetics of literature and art is a specialization or concretization of the problem of aesthetics (including the theory of literature and art). However, this kind of understanding is not really satisfactory, because it is still unable to distinguish the disciplinary boundaries of literary aesthetics, aesthetics and literary theory from the specificity of the research object: in order to ensure the independence of literary aesthetics, is it necessary to "cede" unconditionally the aesthetics of aesthetics to the aesthetics and aesthetics laws of literary and artistic activities at the discursive level of aesthetics, and to the study of literary and artistic activities in literary and artistic theories from the specific aesthetic process? must be unconditionally "ceded" to literary aesthetics? If this is the case, it will bring out a new paradoxical problem of discipline construction, that is, in order to differentiate itself from the existence of aesthetics, literary aesthetics must consciously dilute the discourse on the ontology of beauty, and weaken the unity of aesthetics thinking on specific art problems; and in order to clear the similarity with the study of literary theories, literary aesthetics must consciously strengthen the aesthetics of abstraction of the problems of literary art and increase the philosophical color of literary aesthetics. In order to clear the similarity with the study of literary theory, literary aesthetics must consciously strengthen the aesthetic abstraction of literary art issues and increase the philosophical color of literary aesthetics. It should be admitted that this problem of disciplinary construction has not been effectively overcome in the current study of literary aesthetics. It not only affects the solution of other problems in literary aesthetics, but also shakes our confidence in the legitimacy of the existence of literary aesthetics to a certain extent. So, where is the hope for solving the problem of the positioning of literary aesthetics and resolving the difficulty of constructing the discipline of literary aesthetics? In my opinion, this hope lies in the conversion of our attitude, turning the aesthetics of literature and art from a disciplinary form to a specific research form to understand, i.e., the research of the aesthetics of literature and art at the theoretical level clearly points to a profound grasp of the problem of literature and art. For it is obvious that since the topics of discussion in literary aesthetics can basically find their narrative forms in the system of aesthetics and literary theory, and since various studies in aesthetics and literary theory since the twentieth century have not only not rejected the aesthetic investigation of art, but are also tending more and more to deepen their research perspectives into the artistic mother-topic, the study of literary aesthetics can actually be understood as the internal topic of aesthetics and literary theory. Then the study of literary aesthetics can actually be understood as a contemporary extension of aesthetics and literary theory, and its task is to provide a specific theoretical thinking and discussion form that looks at the specific aesthetic existence, aesthetic expression, aesthetic experience process and law of art from the level of inner structure. In other words, the position of literary aesthetics can be established in contemporary aesthetics and literary theory, and the "disciplined" "literary aesthetics" is actually a contemporary form of "aesthetic study of literature and art". ". Therefore, it should be a wise practice to search for the real theoretical problems of literary aesthetics in accordance with the characteristics of contemporary development of aesthetics and literary theory, to establish the legitimacy foundation of literary aesthetics as a form of contemporary research by identifying the problems, and to carry out the legitimacy process of the research of literary aesthetics by interpreting the problems. Among the many problems facing the study of literary aesthetics at present, there are three that require our special attention: first, the connection between the pursuit of artistic modernity and the construction of cultural modernity. This includes three aspects, namely: the specific nature of the theory and practice of the construction of cultural modernity, the connotation of the pursuit of artistic modernity and its position in the construction of cultural modernity, and the dimension of legitimacy of the pursuit of artistic modernity. Secondly, the specific impact of the contemporary mass communication system on the effects of artistic activities and works of art, as well as the process of realization and aesthetic significance of this impact. Since the variations of contemporary art are to a large extent subject to the specific characteristics of mass communication, only by considering the issue of artistic effect and the issue of the mass communication system of the whole culture as a whole can we obtain a contemporary grasp of the aesthetic essence of art, truly reflecting the realistic value and position in theory, and the study of literary aesthetics can produce the realistic validity of theory. Third, the realistic aesthetic relationship between artistic activities and daily activities. To grasp the relationship between artistic activities and daily activities in the context of reality is not only a concrete understanding of the aesthetic pursuit of contemporary art, but also an intrinsic basis for the research of aesthetics and literary theories to expand their academic horizons and reflect their own ability to inquire about contemporary issues. Prospects for the Study of Western Aesthetics Zhu Liyuan Since the 1980s, every step of progress and every breakthrough in the study of Chinese aesthetics (including the principles of aesthetics and the history of Chinese aesthetics) has been mainly based on Western aesthetics as a frame of reference or an object of reference. This is an indisputable fact. In the 21st century, the construction of Chinese aesthetics is facing major breakthroughs and historic opportunities, and the study and reference to the historical experience and contemporary achievements of Western aesthetics is still an important way for the innovation of Chinese aesthetics theory (including the expansion of the horizon of the study of ancient Chinese aesthetics). Moreover, from the perspective of a longer historical period, the study of Western aesthetics in China is still only in its infancy, and there is still much room for research. First of all, in the 21st century, the translation of Western aesthetics still needs to be greatly expanded. over the past 20 years, although the translation of Western aesthetics has taken shape in our country, it is still far from enough in terms of the needs of the whole Western aesthetics research, not only are there too few translations of some important periods, such as the medieval period and the Renaissance period, involving the content of aesthetics, but also the translations of the relevant books of some important schools of thought and representatives of the history of aesthetics are incomplete, such as the American empirical school, the German rationalist school and the German Romantic school. empiricists, German rationalists and romantics, as well as European Enlightenment aestheticians other than Diderot and Lessing, etc.; many important works on aesthetics in the history of European aesthetics in the 19th century have not yet seen perfect translations; although there has been a certain scale and number of translations of 20th-century aesthetics, many aesthetics treatises of important representative figures or related treatises have not yet been translated and introduced, especially in the last decade or two, when there are a large number of new and important works (not limited to pure aesthetics treatises, but not limited to pure aesthetics treatises). Especially in the past one or two decades, a large number of new important works (not limited to pure aesthetics, including cultural studies and cultural criticism) have not been introduced in time, and some of them have not even entered our field of vision at all. As for the large number of aesthetic works of various eras that have been translated and introduced, our research work has not been able to keep up with them, and many important works have not been seriously and systematically studied so far, and some of them have never attracted any attention at all. Some of them have never even attracted attention. Those that have received general attention are only a few popular books. Therefore, there is still a lot of work to be done in this area. Secondly, closely related to the work of translation, the research and writing of the history of Western aesthetics is far from being inactive. There is even more to be done in the study of the history of the interrupted period, and the periods and schools of thought mentioned above that lack translation are worthy of special study and the writing of a history of the interrupted period or of the schools of thought. In particular, contemporary Western aesthetics, especially in the last two or three decades, has undergone tremendous changes, and modern and postmodern aesthetics *** birth **** glory, which deserve more attention and more timely and in-depth research. Once again, the study of categories and history of categories in Western aesthetics needs to be vigorously developed. Aesthetics category as the essence of various aesthetic phenomena, the relationship between the regularity of expression and logical generalization, is the theoretical form of aesthetic thought and concept. In a sense, the study of the history of the categories of Western aesthetics is a theoretical and logical enhancement of the general study of the history of Western aesthetics, as well as an advancement and deepening of the study of the history of Western aesthetics. Although there are some theses on the thematic study of the categories of Western aesthetics in China, they are not systematic and in-depth enough, and as for the study of the history of the categories, they are even weaker, so we need to spend a lot of effort to strengthen the research in this area. Fourthly, the study of the history of Western aesthetics can be upgraded to the level of aesthetic consciousness and aesthetic cultural history, i.e., it can closely combine the theoretical form of aesthetics thought in a specific era with the aesthetic practical activities and original aesthetic cultural life embodied in the specific aesthetic consciousness, concepts, interests, fashions, artistic creations, etc., so as to make aesthetics theory and aesthetics practice closely integrated and mutually elaborated. complement each other. Fifthly, the aesthetic thought of the founder of Marxism should be studied more y. In our country, the study of Marx's Paris Manuscripts has certainly achieved promising results, but Marx's aesthetic thought has made epoch-making contributions to the history of Western aesthetics, and our existing research is only preliminary. Marx's aesthetic thought not only belongs to the 19th century, but also belongs to the 20th and 21st centuries, in which many important points of view, insights, and ideas are extremely modern and ahead of their time, and the thoughts of many modern Western aestheticians have benefited from or been inspired by Marx. Instead of sticking to a word-by-word interpretation of the Paris Manuscripts or an exegetical reading, we should start from modernity and Marx's historical transcendence with a modern perspective, and further study Marx's aesthetic thought systematically and in depth, starting from the historical lineage of the transformation of German classical aesthetics to modern aesthetics, and from the great influence of Marx on 20th-century Western Marxism and other aesthetics schools. This will not only greatly benefit the study of Western aesthetics in general and contemporary Western aesthetics in particular, but also contribute to the theoretical innovation and construction of contemporary Chinese aesthetics. Finally, it is best for the study of Western aesthetics to be carried out in a context and academic horizon of mutual comparison and reference with the study of Chinese aesthetics, which will greatly benefit both the study of Chinese aesthetics and Western aesthetics.