Modern aestheticians such as Liang Qichao, Wang Guowei, Cai Yuanpei, Zhu Guangqian, Zong Baihua, Lu Xun and Yan Fu, represented by Wang Guowei, Cai Yuanpei and Liang Qichao, vigorously introduced and advocated the western super-utilitarian aesthetics. One of the important reasons is that it is a powerful theoretical weapon to criticize the feudal utilitarian aesthetic tradition and a powerful support for the modern democratic revolution. Wang Guowei inherited and developed Kant's super-utilitarian aesthetics from Schopenhauer's pessimistic will theory. He believes that in order to get rid of the pain caused by the desire for life, we must turn to beauty and art, because "the essence of beauty, in a word, is that those who are cute to play but can't be used are already." [1] (p435) Both beauty and art are super-utilitarian in nature, and do not involve the desire for material utility. Aesthetic super-utilitarianism is the foundation and core of Wang Guowei's aesthetic thought. He consciously introduced and accepted the western super-utilitarian aesthetic view, and integrated it into his own literary criticism and aesthetic research, showing the edge of fighting against the feudal aesthetic tradition and creating a generation of ethos. Cai Yuanpei devoted his life to aesthetic research and aesthetic education practice. In the essence of beauty, he always insists on the view that aesthetics is super-utilitarian. In his article "On the Substitution of Aesthetic Education for Religion", he thinks: "Beauty is universal, and no one can participate in it. ..... Because beauty is universal, there is no longer a relationship between people and me, so there can be no interest relationship. " [2](P70) In the article "Aesthetic Education and Life", it is pointed out that beauty "not only breaks the universality of people's opinions, but also reveals the detachment of interest relations" [2](P22 1). The interest and artistry of life advocated by Liang Qichao is still the idea of aesthetic super-utilitarian purpose. Liang Qichao believes that to make life full of interest and feel the beauty of life, there must be a view of life that the universe is not good and life has no self [3](P435). This outlook on life can liberate the spirit from the narrow utilitarian needs, treat life with a non-utilitarian attitude, and find fun and beauty from it. His advocacy of the interest and artistry of life is actually an angry denunciation of the feudal traditional aesthetic view of literature and art and the feudal society that stifles people's personality and emotion. The anti-feudal significance of China's modern aesthetics can also be proved by the great trend of modern aesthetic education. No matter Wang Guowei, Liang Qichao, Cai Yuanpei or early Lu Xun, they all advocated aesthetic education without exception and even devoted themselves to aesthetic practice. Wang Guowei aims to prove that the aesthetic education thought of "developing people's feelings" is incompatible with the traditional enlightenment thought of "stopping at etiquette and righteousness", and even tit for tat. Liang Qichao's aesthetic education thought of "putting emotional education first" has a distinct significance of democratic enlightenment, which has been widely responded by Tao Zengyou, Xu Nianci and Kang Youwei, and has become the common desire and requirement of people in the era of democratic enlightenment. Cai Yuanpei even raised aesthetic education to the height of national education policy and established it; Not only that, he also closely combined his own aesthetic thought and aesthetic education theory with the practice of anti-feudal revolutionary struggle and devoted himself to aesthetic education practice. Especially when he was in charge of Peking University, concerts, calligraphy seminars and painting seminars mushroomed on campus, and various aesthetic lectures and aesthetic education activities flourished. For a time, Shanghai, Hangzhou and other places have followed suit to establish aesthetic research societies and art schools, and aesthetic education practice activities have swept the country. China's modern aesthetics' opposition to feudal tradition is also manifested in its high concern for vulgar culture and its justification. In feudal culture, novels have always been regarded as "the last word" and "idle books", which are despised by people. In modern times, the status of novels has been greatly improved, on an equal footing with the traditional "six arts" of elegance and integrity, and the creation of new novels has been unprecedentedly prosperous. Modern aesthetics attaches importance to popular culture not only in novels, but also in folk songs with a long history. The emphasis on popular culture in modern society reflects the change and renewal of modern aesthetic thought. Its edge is the stale feudal culture and traditional aesthetic concept, which embodies the distinct anti-feudal significance and characteristics of the times. In essence, this is also a task put forward by the times to modern aesthetics with the content of ideological enlightenment and serving reality. Zhu Guangqian is a modern aesthetician who studies Chinese and western cultures and connects the past with the future. He followed the path of Wang Guowei, explaining the artistic conception with aesthetic expression, focusing on the point of "scene blending", which is more in-depth and detailed than Wang Guowei. Zhu Guangqian believes that in the realm of poetic art, emotions are expressed by images, which are emotions and images. Emotion and image are integrated through the synthesis of mind (that is, intuition) to form artistic conception. Zhu Guangqian thinks that realism and idealism are both imitations and wrong. He opposed imitation theory and typicality theory with aesthetic expression. Therefore, on the one hand, Zhu Guangqian's artistic conception theory is divorced from the premise of realism, on the other hand, it ignores the ideal of artistic conception. As for the change and development of Zhu Guangqian's aesthetic thought after 1949, it is beyond the scope of this paper. Zong Baihua's aesthetic theory before liberation is mainly about the exploration of artistic conception theory. He is different from Liang Qichao's "interest" and Zhu Guangqian's "intuition of form", and he talks about "being artistic in appearance", with special emphasis on the ideal of artistic conception. He said: "The artist expresses his views by reflecting everything in his mind and expressing mountains and rivers. What he shows is that subjective life perception and objective natural scenery blend and penetrate each other, reaching a spiritual realm of flying like a kite, jumping like a fish, vivid, delicate and profound; This spiritual realm is the artistic conception that constitutes art. [6] (P60) Artistic conception, as the crystallization of emotion and scenery, is nothing more than using the tone, order, rhythm and harmony of natural scenery to glimpse the deepest rhythm of a person's heart. Zong Baihua also believes that artistic conception is not a simple realism, not a plane expression of nature, but a layered creation. He said: "There are three levels from the description of intuitive senses, the transmission of positive life and the revelation of the highest spiritual realm." [6](P63) The first layer is to write intuitive images, the second layer is vivid images, and the third layer is wonderful enlightenment. When you reach the highest spiritual level, you can express "HarmonyOS's Theory". He said: "The artistic conception is expressed in the works, which makes HarmonyOS's theory shine through the picture of order. This orderly picture is an artistic form in which artists organize lines, dots, lights, colors, shapes, sounds or words to form an organic harmony to express artistic conception. " [6](P66) Zong Baihua's artistic conception theory makes people feel the poet's aura and the philosopher's wisdom. From the standpoint of "enlightenment", Lu Xun agrees that literature and art are life, and thinks that literary and art workers can only create great works if they dare to face reality and express their anger and resistance to social injustice. Therefore, he thinks that the artistic conception of "King Kong glaring" in China's classical aesthetic artistic conception theory should attract people's attention. On this basis, Lu Xun criticized Zhu Guangqian's idea of emphasizing quietness in artistic conception. In his view, taking tranquility and silence as the extreme state of poetry and hating that kind of angry face are the expression of the state of mind of "literati wandering between life and death". Lu Xun also solved the dialectical relationship between the eternity and relativity of art, which is a theoretical progress and transcendence compared with Liang Qichao's artistic conception theory that emphasizes relativity and Zhu Guangqian's emphasis on eternity.