-Interview with Mr. Ye Lang, Vice President of China Aesthetic Society.

Xu

Editor's Note: With the coming of the new century, colleagues in the aesthetic field are thinking about some issues: how to go about China's aesthetics in the new century, how to position aesthetics in the new century, and how to grasp aesthetics in the past century. A few days ago, at the invitation of the editorial department of philosophical trends, our reporter visited Mr. Ye Lang, vice president of China Aesthetics Society, with these questions. With the consent of Mr. Ye, we publish some interviews here, hoping to arouse readers' further thinking. The title was added by the editor.

X: The 20th century has passed, and it can be a unit both politically and academically. So, in your opinion, what are the achievements and shortcomings of aesthetics in the 20th century? 2/kloc-how to develop aesthetics according to the summary of its experience and lessons in the 0/century?

Ye Lang: My initial thought was that the 20th century was basically a process of cultural exchange between China and the West while introducing western culture. China's aesthetics in the 20th century can be divided into three stages. The first stage is aesthetics represented by Wang Guowei, and the second stage is aesthetics represented by Zhu Guangqian and Zong Baihua. The third stage is after the reform and opening up. The whole process is a process of progress. We should continue this process in the 2 1 century.

China's aesthetics since modern times, such as Wang Guowei, Liang Qichao, Cai Yuanpei and Zhu Guangqian, all have a common tendency, that is, trying to integrate Chinese and Western aesthetics. In doing so, they also made a public statement about it. For example, Zong Baihua once said, "The future world culture must be newly created by combining the advantages of the two cultures." This was said 70 years ago. Mr Zong also said that this is the most suitable thing for China people to do. Because China's writing is difficult, it is difficult for western scholars to master China culture. Therefore, in this matter, China scholars can make their own unique contributions. That's what Wang Guowei said, and they are doing the same. For example, Wang Guowei's "Tales on Earth" and "Comments on a Dream of Red Mansions" all explain China's literature from the perspective of western academics. Zhu Guangqian's On Poetry explains China's poetry with western aesthetic theory. In fact, Zhu Guangqian and Zong Baihua went further than Wang Guowei. Wang Guowei, Zhu Guangqian and others all have a characteristic. On the one hand, they study China, on the other hand, they introduce the West. Marxist aesthetics was introduced from the Soviet Union in 1950s. There are two aspects to this problem. The basic viewpoints of Marxism are of course important to us. But as far as aesthetics is concerned, what was introduced from the Soviet Union at that time is still worth discussing. You can learn from it, but you can't be rigid. A negative effect at that time was to deny all the work done by the older generation of scholars. From Wang Guowei to Zhu Guangqian, their efforts to integrate China and the West were interrupted. After the reform and opening up, this tradition continued. There are many excellent things in China's traditional culture, but the theoretical research is not enough.

X: Can you elaborate on this point? China's traditional aesthetics is really unique in the history of world aesthetics, and it has contributed to world culture in its unique way. But it is undeniable that in today's world, western discourse has an absolute advantage in language and way of thinking. China's aesthetics, as an understanding of beauty and art based on agricultural social economy and China's traditional philosophy of harmony between man and nature, has two different ways of understanding and grasping aesthetics and art compared with the modern epistemological aesthetics based on industrialization and the philosophical basis and premise of dichotomy between subject and object. So, where is the possibility of China's aesthetic modernization? Under this background, how to inherit the excellent aesthetics of China tradition?

Ye Lang: Culture is of course a reflection of certain economy and politics. However, some parts of culture, such as philosophy and aesthetics, are the fundamental problems of life, humanity, life, existence, history and universe, and the thinking on these problems is not completely restricted by the economic and political conditions of that era. Confucius' research results on human nature can still be used for reference today. It cannot be said that his achievements are worthless today. Scholars in the era of big industry may not have studied human nature more deeply than those in the era of small farmers. At this point, the humanities and natural sciences are different. Natural science is making constant progress. The results of the latter include the former. Philosophy is different. We can't say that scholars in the 2 1 century must be smarter than Laozi, nor can we say that the philosophy of Song people must be more progressive than that of Tang people. It can only be said that each era has its own thoughts and answers to some common problems facing mankind. The new era has provided new things. But you can't say that you must be better and more progressive than Lao Zi. The answer provided by Laozi at that time is always valuable. In this sense, some contents of China's philosophy, aesthetics and culture are always valuable. But we can't say that the ancients provided ready-made answers to our questions today. Marx's Das Kapital was the highest wisdom of his time. It is always worth reading and studying. But you can't say that Marx has provided all the answers to economic problems. Of course not. We should have our own answers today. Every era has its own answers to its own questions, but the crystallization of human wisdom in the past can always be used for reference by us. Marx and Lao Tzu are the same. Marx's books have eternal value, which is not for us to copy and use as dogma. But let's learn, learn from and absorb its wisdom. Laozi, Confucius and Marx are all like this.

I think China's aesthetics, especially Wang Fuzhi's aesthetics, are very profound. But we don't study enough now. Many of Wang Fuzhi's propositions are profound. For example, we are now debating whether there is a difference between art and non-art, what is art and what is not art, but our traditional aesthetics in China thinks there is a difference. Wang Fuzhi said, the difference lies in whether? Quot xing ". It contains valuable ideas. Wang Fuzhi also emphasized the directness of aesthetics, that is, "the present quantity" and "explosive, no comparison". Super logical. These are very valuable. Wang Fuzhi is very important in China's aesthetics. He has many important things that we haven't explored yet.

Xu: Can you talk about your future research plan?

Ye Lang: That's what I want to do next. The first is the study of the basic theory of aesthetics. The foothold is the traditional culture of China and the aesthetic tradition of Peking University. Of course, we should also absorb western modern things. Basic ideas and methods of absorbing western modernity. Clean up the basic theory of aesthetics and compile the teaching material of aesthetic principles.

Besides the basic theory, what I want to do at the same time is to study China's aesthetics and art deeply. The first is to comprehensively revise the Outline of the History of Chinese Aesthetics. Another job is to write a history of China's art criticism. China's artistic theoretical heritage is extremely rich, such as painting, calligraphy, music and drama. In the past, we had a good history of literary criticism in China, but the history of artistic criticism in China was never established as a discipline. Now we should fill this gap. The third thing is the study of ancient art in China. Especially religious art, a few years ago, I was the head of the three departments of philosophy, art and religion, which prompted me to have an idea: to link the three fields.

X: Do you mean religious art or the culture embodied by religious art?

Ye Lang: Either culture or religious art is divided into two parts: one is the religious world in China's ancient novels and poems. Many of China's novels are about religion, such as A Dream of Red Mansions and The Journey to the West. They wrote about religious thoughts and life. There are many lesser-known novels, but they also contain religious content. There are also many things related to religion in poetry. For example, the poems of Wang Wei and others show a kind of Zen and interest. The second is to study Chinese religious art. There are countless Buddhist temples and Taoist temples in China, as well as many grottoes, which contain Buddha statues, stone carvings, wood carvings and so on, as well as new cultural relics excavated from underground. For example, Sanxingdui and Qingzhou Buddha sculptures, such as Dunhuang art, are all very good, but few people study from the perspective of religious art, how do works of art reflect religious thoughts? How does religious concept affect artistic creation? If these problems can be thoroughly studied academically, they will also attract great attention internationally. This project is called. Quot China religious art field trip ". The former (religion in literature) is relatively easy to do. It is the work in study, looking up information, theoretical analysis and thinking. The latter requires on-the-spot investigation. It's difficult, time-consuming and laborious, and it needs a lot of money.

In addition, some other things can be produced around the above. For example, I want to write some popular works about aesthetics and life. I like Mr. Zhu Guangqian's Talking about Beauty. Popular things are the hardest to make. You must do a thorough and comprehensive study by yourself first, and then express it in clear and unobstructed language. It is necessary to explain it in simple terms. This is the hardest thing to do. I think if I have time, I hope to do some work in this field. If this can be done, there will be a third stage.

Xu: Your plan is mainly about the study of specific art history and aesthetic history. So, is this just your personal academic interest, or do you think that from a general academic point of view, China's aesthetic research should also do more specific art history research?

Ye Lang: It is very difficult to promote the study of the basic theory of aesthetics. This is true of any subject. It is difficult to advance the basic theory at all. In specific departments, it is relatively easy to apply basic theory to study specific problems. Moreover, China just lacks such specific research. Many problems cannot be deepened. An important reason for the development of Chinese painting and Peking Opera is the lack of theoretical analysis.

Xu: You once said that your revised Outline of the History of Chinese Aesthetics is different from the past in some basic theories, and some of them are advanced. Can you tell me what it is mainly reflected in?

Ye Lang: For example, aesthetics studies aesthetic activities and the nature of aesthetic activities. In the past, our way of thinking was the dichotomy of subject and object, which did not conform to the essence of aesthetic activities. Aesthetic activity is not cognition, but an experience. Experience is not a dichotomy between subject and object. Most thinkers in ancient China did not study aesthetics under the framework of dichotomy of subject and object. We didn't pay enough attention to these in the past. Because we have such a framework in our own mind, of course, it will be affected when we learn to absorb the achievements of the ancients. If your mind is closed in some ways, you will turn a blind eye to some valuable things in the book if you can't go on studying. Because your vision is not wide enough. One of the achievements of more than 20 years of reform and opening up is to open our eyes and open our minds. Deng Xiaoping proposed emancipating the mind, and the just-concluded Sixth Plenary Session once again proposed emancipating the mind. I think this is very important. It goes without saying that the construction of our country needs ideological emancipation. Academic research should especially emancipate the mind.

Xu: There is a view that the concept of subject and object is actually a concept of modern western philosophy. The limitation of this concept is very great. As long as it is used, it will inevitably have an impact, that is, the subject generalizes the aesthetic relationship through the concept of object, which will inevitably lead to the engulfment of the object by the aesthetic subject, and the aesthetic object will be regarded as serving the subject, and the subject will be above the object. Because the connotation of the concept of subject and object is that the subject engulfs and enslaves the object.

Ye Lang: That's a problem. I think beauty is an image, an aesthetic image. This image is in my mind, and yours is different from mine. Then why don't you relax? Is it better to doubt Zhu Lang than to be arrogant? What's the matter with you? D, what's the matter? Hey, k? Reading? Where can we stop the invasion and restore our ambitions? Hey? Stunning? Embezzle, choose D. What's wrong with swallowing? I'm embarrassed? Fade away? What's the matter with you? Zheng Zheng? "Acyl coal enters the D cavity, so it looks good." ? D, what's the matter? Mr. Xin, please forgive me. I'm sorry. Are you there? Hey? Xin jun?

Xu: We can't just study aesthetics from epistemology. Then, as a discipline, how should aesthetics be positioned? What should be its research method?

Ye Lang: I think four things are certain: First, aesthetics is a humanities subject. What is the humanities? The object of humanities research is the spiritual world and the cultural world. The spiritual world is internal, while the cultural world is external and unified. What are the connotations of spiritual world and cultural world? It is a world of meaning and a world of value. This is what aesthetics studies. It is important to know this. Finally, aesthetic research should be combined with life and point to the meaning and value of life. We should pursue higher life value and more meaningful life by studying aesthetics. Secondly, aesthetics is a theoretical discipline. Its research object is perceptual activity, but it is a theoretical subject in itself. It needs the training of theoretical thinking. Thirdly, aesthetics is an interdisciplinary subject. It depends on many adjacent disciplines. Because aesthetics involves philosophy, literature, art, psychology, anthropology, culturology, cultural history and so on. Aesthetics should borrow multi-disciplinary means, knowledge and methods. Therefore, people who study aesthetics should have a wider range of knowledge. Fourthly, aesthetics is a developing discipline, and there is no mature system so far. Some disciplines, such as geometry, have long had a mature system. The same is true of political economy. Classical political economy has a complete and mature system in Marx. Although it shows some shortcomings now, it is already a mature and complete system. No aesthetic. There are no foreign countries in China. This feature makes it impossible for us to stick to a system when studying aesthetics, open our minds and absorb new things at any time. One is to absorb from the history of aesthetics, and the other is to absorb from contemporary academics.

These four characteristics lead to the method of aesthetic research, that is, we should pay attention to training our theoretical thinking ability, pay attention to the humanistic connotation of aesthetics, have a wide range of knowledge, especially the knowledge of art direct experience and art history, and have an open research mentality of absorbing new things at any time. This is why aesthetics is not easy to do. There is no ready-made system for reference. But that's the fun. You can leave your first footprint. There are many places where you can make new discoveries and create new things. Of course it's hard. As I said before, it is very difficult to advance the basic theory. So I think we should advocate using aesthetic theory to study some specific problems. This is not just a study of simple works. It will be of great significance if our aesthetic circles can solve such problems which are rich in content but have not been solved for a long time and are worth exploring in the 2 1 century. This kind of research, in turn, will be conducive to the promotion of the basic theory of aesthetics. For example, if we develop something new about religious art, it will certainly promote the basic theory of aesthetics.

Academic trends, Aesthetics and Culture, East and West;

Summary of preparatory meeting of international academic seminar

The preparatory meeting for the international symposium on "Aesthetics and Culture: East and West" was held in beijing international studies university on June 22 and 23, 2002, which was jointly sponsored by the Aesthetics Office of the Institute of Philosophy of Chinese Academy of Social Sciences, the Literature Theory Office of the Institute of Literature and the Cross-cultural Institute of beijing international studies university. More than 30 experts and scholars attended the meeting. Experts attending the meeting mainly had a heated and in-depth discussion on "the present situation and prospect of aesthetic research", "the interaction between Chinese and western aesthetics in the twentieth century", "the modern significance of traditional aesthetics" and "aesthetics and cross-cultural dialogue".

1. Present situation and prospect of aesthetic research

Qian Jing, a researcher at the Institute of Literature of China Academy of Social Sciences, first made clear the purpose of this meeting. He said that the communication in the field of aesthetics is not sufficient and in-depth. It is necessary to reflect on the overall academic history of aesthetic research, the development track of China's aesthetic research, the current situation of aesthetic research, advocate a rigorous academic research attitude, and enrich the composition of aesthetics from different perspectives of aesthetic research, so as to find the growing point of aesthetics. At present, the ideas of aesthetic research are also varied, such as academic history, culturology, aesthetic comparison, cross-culture and so on. And the objects of aesthetic research have also expanded, such as design, film and television, cultural industry, aesthetic culture and so on. It is in this context that we try to find a new way and direction of aesthetic development. Gao Jianping, an associate researcher at the Institute of Literature of China Academy of Social Sciences, also talked about how aesthetics turned a new page. How to interpret the object of aesthetic research? How to get out of history? These have become several problems that plague academic circles. In the transitional period, China's aesthetics thinks about how to develop and how to participate in the development of international aesthetics. Professor Wang Keping from the Cross-cultural Institute of beijing international studies university pointed out that the dialogue between Chinese and Western aesthetics needs the confidence of China scholars, pays attention to the symmetry of aesthetic dialogue, constructs a discourse system with China aesthetic characteristics, and changes the prejudice of western scholars against China's aesthetics. Therefore, the introduction and translation of China's aesthetics into foreign languages has become an important aspect.

Teng Shouyao, a researcher at the Institute of Philosophy of the Chinese Academy of Social Sciences, believes that there are many reasons for the aesthetic upsurge in the 1980s to the aesthetic silence in the 1990s. Apart from social transformation, aesthetics itself has limitations: first, aesthetics can't solve any problems, and aesthetic principles are the deduction of concepts and knowledge, so there are serious problems in college aesthetic education; Second, aesthetics lacks a social foundation, and the majority of primary and secondary school students have no chance to receive multicultural art education, because art education is the basis of aesthetics, and there are also many problems in aesthetic education in primary and secondary schools, such as aesthetics, pedagogy, psychology and accounting. What's wrong with mosquitoes? C а а а？ > fierce yellow fatigue? Tuotuo? Hey? Beggar Beggar Beggar Beggar Beggar Beggar Beggar1999999 got rid of the "fusion of horizons" theory, and postmodern "text" theory and "splicing" theory became important methods to explain the principles of art education. When aesthetics is integrated into art education, great changes have taken place in the basic concept, nature and value of art education, which are manifested in four characteristics: (1) art categories generate complementary ecological relations; In the process of art perception-experience-creation-reflection and evaluation, correct the tendency of non-aestheticization in art education; Art is interlinked with culture, life and emotion, and so are art history, artistic creation, artistic criticism and aesthetics. Humanistic art education.

Professor Wang Keping believes that this is actually a major operation in the art education model, and the multidisciplinary art education model in the United States is worth learning, which is also reconstructing the art education in China. Qian Jing, a researcher, explained the limitations of using concepts to write aesthetics by compiling aesthetic textbooks, and proved the necessity of "pouring" aesthetics into art from the opposite side.

Professor Zhang Fa from the Department of Philosophy of Renmin University of China raised such a question: "What is the difference between art education and aesthetics? What is aesthetics? What should I say about aesthetics? " Among these problems, the discipline construction of aesthetics came into being. Aesthetic principle has three parts: aesthetic experience, aesthetic category and formal beauty. Aesthetic experience involves the addition of modern content, and the process from subject to aesthetic subject involves aesthetic activities. Aesthetic category is actually a theory of aesthetic types, which teaches the ways and principles of division, while formal beauty reflects the aesthetic characteristics of different times and different nationalities. Zhang Qiqun, an associate professor of philosophy at Peking University, believes that the similarity between aesthetic education textbooks and aesthetic textbooks lies in the generalization of aesthetics. Aesthetic education textbooks are equal to aesthetic principles plus artistic knowledge, and the result is a lack of originality. Associate Professor Peng Feng of the Department of Philosophy of Peking University believes that the scope of aesthetic research should keep pace with the times, from narrow aesthetics to broad aesthetics, from practical aesthetics to aesthetic practice, and China's understanding of China's philosophy has methodological significance; Understand China's aesthetics from the perspective of China's ideological history, rediscover the significance of traditional aesthetics, and interpret China's aesthetics with new schema and paradigm; Aesthetic comparison is a way of understanding, and another thought can be understood from another schema and paradigm.

The relationship between aesthetics and culturology and culture

Researcher Nie Zhenbin of the Institute of Philosophy of Chinese Academy of Social Sciences pointed out that the essence of culture is spiritual rather than material existence. By who? Quot "Material culture", "utensil culture" and "institutional culture" all refer to the verve, mood, meaning, symbol and metaphorical consciousness embodied in the system, structure and form of materials, utensils and institutions, rather than the existence of materials, institutions and utensils. Art can best embody the essence of culture. Therefore, to study a certain culture, we must study its art; To transform a nation, we must first reform the art of shaping it. This is the reason why the New Culture Movement in China took the "ethical revolution" as the banner at first, and then took the "literary revolution" and "artistic revolution" as the central content.

From the cultural point of view, culturology and aesthetics are its theoretical basis, but culturology is the general theoretical system of culture, while aesthetics is the essence and part of culture. In the study of aesthetics, we can't ignore culture and borrow the method of culturology. To be exact, the methods of aesthetic research mainly come from culturology, not natural science.

China's century-old aesthetics, especially China's Marxist aesthetics, neglected culture and its theory (culturology), leaving many regrets in the construction of aesthetic theory. First of all, the essentialism and ontology of aesthetics both reject the cultural spirit and take materialism monism as the philosophical basis. Second, the theory of artistic creation is mechanical determinism, and it also excludes culture, and dare not face up to the decisive role of culture in human art. Culture permeates human life activities, spiritual activities, ethical relations and social practice for survival and development all the time, affecting and restricting human wisdom, virtue, emotion and talent. Thirdly, the western cultural centralism obliterates the national characteristics of China's modern aesthetics. An Introduction to Aesthetics and Art, published in the last hundred years, copied the western models, categories, propositions and styles, completely losing the characteristics of its own national culture. Fourthly, ideology, that is, the right to speak, rudely denies the self-discipline of art, and cancels the cultural criticism and aesthetic criticism in art. Under the condition of market economy, the rise of mass culture and the emergence of cultural industries need cultural criticism and aesthetic criticism to guide artistic aesthetics in the right direction. Fifth, use absolute political power to deny the cultural laws of education. From 1950s to the end of 20th century, the education policy cut off aesthetic education and replaced moral education with political preaching and propaganda. This one-sided education has greatly affected the cultivation of national quality and innovative spirit. In response to the speech, researcher Qian Jing believes that we should reflect on the history of China's aesthetics for a hundred years, be brave in thinking and explore the development path of aesthetics.

Professor Zhou Xiaoyi from the English Department of Peking University talked about some problems in the current aesthetic culture: the combination of art and instrumental rationality, the coercion of capital logic on art; The expansion of perceptual aestheticism, as well as the gender concept and gender oppression in art; Western aestheticism is influenced by the East; The quantification of aesthetics and its relationship with power.

Professor Wang Yichuan of Chinese Department of Beijing Normal University advocates using the concept of modernity to explain the image of modern literature in China, and taking the "sea" in literary works as an example, explains how modernity develops in literature, thus revealing the aesthetic dimension of modernity.

Zhang Jiangang, a researcher at the Institute of Philosophy of Chinese Academy of Social Sciences, discussed the close relationship between cultural industry and aesthetics. Quot, the cultural industry has expanded the cultural rights of citizens, art has been reinterpreted in the cultural industry, and art in the market is also hierarchical. As a basic problem, art has been deeply considered, and the humanistic care of art has also been put forward. The essence of art lies in creativity.

On the question of art, the participants asked: What is art? Where is the boundary between art and non-art? How to define contemporary art? How to evaluate contemporary art? Is there an artistic crisis? Is the art over? How do we judge art?

Yang Ping, a lecturer at the Institute of Intercultural Studies of Beijing Foreign Studies University, thinks that when? Vent? Male shape? What is the account? チ Miao Zimu on the temple surface? What are the traces of silkworm, pine and bamboo? What's your opinion? What about the account? Jingna chanted resentment and said that she was happy and delicious. Money account acyl brain? Onions hit the sky? аыыыыыыыыыыыыыыыыыыыы?ыыыыыыы10

Three Kinds of Western Aesthetic Studies

Tian Shigang, a researcher at the Institute of Philosophy of the Chinese Academy of Social Sciences, reinterpreted Croce's theory of "intuitive expression" in aesthetics. He thinks that China's research on Croce's aesthetics is not comprehensive, unlike ordinary scholars who think Croce is a hegelianism, but a Kantian, and focuses on the ideological origins of Croce's aesthetics, Kantian aesthetics and Italian thinkers. Croce's intuition and performance are unified, not separated. The theoretical basis of intuitive expressionism is that aesthetics is the foundation of philosophy, and intuition is the expression and starting point of aesthetics. Art is not a passive feeling, not an imitation of nature, but an independent creative activity of the spirit, and art is an innate synthesis of emotional content. In the field of aesthetics, we should deny the difference between intuition and expression, content and form. Croce's "intuition" category has three theoretical sources: Kant's perceptual intuition and rational intuition, Croce's intuition is a creative self-expression without sensory intermediary; Croce is Sander Coe of aesthetics and the successor of Italian "formalism aesthetics". Crowe's intuition also inherited Vico's view that intuition and imagination are the starting points of understanding. To grasp Croce's aesthetics, we must understand Croce's spiritual philosophy system. Croce's aesthetics reflects the development and changes of western literature and art at the end of 19 and the beginning of the 20th century, which has also had a great influence on the subjectivity of aesthetics and the linguistic turn, and also profoundly influenced China's aesthetics in the 20th century. Therefore, an accurate and fair evaluation of Croce's aesthetics is also to build aesthetic theory with China characteristics.

Huo Guihuan, an associate researcher at the Institute of Philosophy of the Chinese Academy of Social Sciences, and Huo Guihuan, an associate researcher at the Institute of Philosophy of the Chinese Academy of Social Sciences, pointed out that in recent years, they have mainly paid attention to the study of phenomenological aesthetics, because this kind of research insists on the dichotomy and opposition between subject and object, and emphasizes the unity of subject and object from the perspective of intentionality. Grasping this basic angle, we can further understand the achievements of this kind of research in the field of aesthetics. It must be emphasized that both traditional aesthetics and artistic philosophy that emerged at the beginning of this century basically define their own research objects in the way that natural sciences define their own research objects. As a result, not only what is "beauty" but also what is "art" can't be distinguished. In fact, without careful scrutiny, we can see that the research objects of aesthetics and philosophy of art are essentially different from those of natural science; In this case, it is extremely important to deeply reflect on whether there is a problem in our own research perspective from the depth of meta-theory. In fact, aesthetic research not only needs researchers to have rich artistic accomplishment, but also needs a very deep philosophical and theoretical foundation. Otherwise, they not only don't know the characteristics of their research objects, but also inevitably "dazzle people with their own views". The most fundamental thing is how to take the unity of aesthetic subject and aesthetic object as the research object, and how to realize the unity of researchers' comprehensive quality and their research objects.

He believes that the basic viewpoints of phenomenological aesthetics are: the study of aesthetic value is between "top-down" and "bottom-up" (Geiger); Objectivist aesthetics, studying the structure and understanding of works of art (Ingarden); Study all aspects of aesthetic experience (Mikel Dufrenne). The basic characteristics of phenomenological aesthetics are: inheriting and developing the basic philosophical views of phenomenology; Emphasize that phenomenology is especially suitable for studying aesthetic phenomena; Centering on works of art; It reflects the constant evolution of research focus. The enlightenment of phenomenological aesthetics is: as far as aesthetic research objects and disciplines are concerned, aesthetic research objects are actually not objects or subjects, but the unity of the two; Aesthetics is neither a natural science nor a social science based on natural science. Aesthetics is not an artistic theory, but a branch of philosophy. Research methods: The research method of aesthetics is not the natural scientific method and its derivatives that adhere to the dichotomy of subject and object, nor the western traditional philosophy that adheres to the dichotomy of subject and object, but the generative philosophical method that emphasizes the different realms of the integration of subject and object. Research topic: What ability should a researcher have to become an "aesthetician"? State and its formation and composition; How should researchers experience the aesthetic realm and distinguish it from the realm of seeking truth and doing good? How should researchers view the relationship between natural beauty and artistic beauty?

Cao Weidong, associate professor of Chinese Department of Beijing Normal University, discussed the rewriting of German classical aesthetics. In his view, there were four major problems in China's study of German classical aesthetics in the past: limited materials; Limited ability; The problem did not unfold; Influenced by ideology; There is a phenomenon of repeated research. Therefore, it is necessary to adjust the direction and thinking of researchers: cut into German classical aesthetics from the history of thought; Redefine German classical aesthetics, advance the beginning of German classical aesthetics to Leibniz and continue to romanticism; Explore new clues of aesthetic thought.

Zhang Hui, an associate professor of Chinese Department in Peking University, raised these questions: How do we understand the West? What do you use to talk to westerners? How does the West know about China? In the process of explanation, how do we find those covered things? These problems caused in-depth discussion among the participants. Professor Zhang Fa pointed out that how to understand the original meaning of the West? How did the misreading of western aesthetics come about? What factors have influenced the writing of China scholars? Associate Professor Zhang Qiqun also pointed out that how do we read the West? Why do you want to read the west?

Associate Professor Dong Liu of the Chinese Department of Peking University pointed out the risks of comparison, and pointed out that the comparison between culture and literature tends to be simplistic, that is, the mode of parallel comparison does not pay attention to cultural context. Taking some specific categories such as "art", "aesthetics" and "tragedy" as examples, he analyzed the negative impact of parallel transplantation of academic terms on academic research. Because there is no specific historical and cultural context, when analyzing traditional culture, it is often submerged by western culture, losing its locality and nationality, and eventually becoming "the native of the West". Experts attending the meeting believe that this actually raises the realistic question of what aesthetics should do and what we should do.

Niu Hongbao, an associate professor in the Department of Philosophy of Renmin University of China, believes that the change of academic background and mode of thinking in cultural exchange makes the description of oneself untrue, so we should be alert to the danger of parallel comparison. Under the background of cultural internationalization, to comb and explore China's aesthetics again requires structural adjustment, repositioning and framing the tradition, not in the tradition, but in how to explain the tradition, taking thought as the center and problem as the center.