Due to its own linguistic features and the influence of China's philosophy and ethics, China's literary movement has formed some characteristics different from foreign literature. Chinese is one of the oldest languages in the world. Chinese plays a great role in the formation and construction of China literature: ① It is easy to cause concreteness. Because Chinese characters have ideographic characteristics, their own arrangement sometimes causes some specific images. For example, Fu and Parallel Prose use a lot of homographs. The symbolism and ideographic nature of Chinese characters create a unique aesthetic effect. (2) Chinese characters are generally monosyllabic, monosyllabic and monosyllabic, which makes the syllable changes of China's poems have a set of unique and rigorous rules, forming a neat and symmetrical formal beauty in appearance. (3) There are four tones in Chinese. It is by taking advantage of this feature of Chinese that poets pay attention to the arrangement of words and sounds when writing poems. As a result, modern poetry (five-character poems, quatrains, seven-character poems, quatrains), ci, Sanqu and other poetic styles came into being and dominated the poetry world for thousands of years. Poetry makes full use of the change of four tones, producing a distinct rhythm and cadence artistic effect. Classical Chinese, as a special written language, can be separated from daily language for a long time and maintain the status of official language, which leads to the phenomenon that literature runs on two different tracks, classical Chinese and vernacular Chinese, with great differences in content and form. In addition to its own characteristics, China literature has its own unique literary concept system. This concept system is dominated by China's traditional ideology, and its ideological origin lies in the Confucian school founded by Confucius. Confucianism, represented by Confucius and Mencius, mainly influenced China's national character and cultural thought in the following aspects. First, the idea of joining the WTO centered on "self-cultivation, keeping the family in order, governing the country and leveling the world" (Book of Rites University); Secondly, it is a moral concept based on "benevolence, righteousness, courtesy, wisdom and faith"; Third, it is the ethical concept of "heaven, earth, monarch, relatives and teachers" in order; Fourthly, it is the doctrine of the mean philosophy with "forbearance" (Analects of Confucius) as the norm. Under the domination of this thought, China literature with poetry and prose as its enlightening function focuses on political and ethical themes in content. The tendency to preach literature as a vassal of politics has always been considered to be beyond reproach. The encounter between monarch and minister, the joys and sorrows of people's livelihood, the ups and downs of officials, the victory and defeat of war, the rise and fall of the country, the ups and downs of life, the disorder of laws and regulations, and the ethical opposition have always been the main theme of China literature, whether it is poetry, prose, novels or operas. Confucianism's philosophy of entering the WTO and the concept of enlightenment have brought political enthusiasm, enterprising spirit and sense of social mission to China literature, but at the same time, they have also restrained the release of self-lust, the formation of free personality and the exploration of self-consciousness, especially the concept of "Heaven destroys human desire" in Neo-Confucianism, which has cast a layer of rationalism on literature. The above content is characterized by the pursuit of "golden mean" aesthetics. China's literature emphasizes the beauty of neutralization, which means "happiness without lewdness, sorrow without injury", and generally does not over-express emotions. Most of China's old-style poems are introverted in emotion, implicit in thought, meaningful in words and endless in meaning, and also show strong rationalism. In the history of China's thought, the ideological systems of Confucianism and Taoism are complementary, and Confucianism, Taoism and Buddhism often meet. Confucianism, Taoism and Buddhism have their own differences and opposites, which have influenced China literature in different ways. The so-called "generosity is good for the world, poverty is good for oneself" thought, Confucianism inherits the spirit of kindness, and Taoism develops the thought of doing nothing but being good. Among the literati in China, the thoughts of being extreme and avoiding the world are often intertwined and ebb and flow. In literary works, this phenomenon has a distinct performance. If "helping the world" and "being independent" are the complementary life trends of ancient literati, then generosity and cynicism have become the common psychological state and artistic concept of ancient intellectuals. Although Confucianism has a dominant influence on the overall style of China's literature, Laozi and Zhuangzi's philosophy has a great influence on China's literature and art. This influence has two aspects: ① The viewpoint of "loud voice, invisible elephant" reveals the dialectics of emptiness and reality, nothingness and existence in art, and points out that "life is born of nothingness". It plays an extremely important role in forming the subtle and refined artistic expression characteristics of China literature. China's literature attaches great importance to the expression methods of virtual realism and static writing. China literati don't like direct detail description, but leave the space of artistic feeling and artistic imagination for readers to taste, ponder and think, to pursue those unspeakable sounds and hopes-the ultimate beauty, and to create an artistic realm in which silence is better than sound. (2) "unification without cutting" and "Taoism is natural". "Not cutting" means emphasizing the integrity of nature and the simplicity, simplicity and simplicity of nature. The supreme and metaphysical Tao requires the metaphysics of "law", which emphasizes a kind of natural beauty. Therefore, China's writers and artists have always combined hard skill training with unskilled realm, "seemingly the most extraordinary, easy but difficult". This is a portrayal of the artistic realm that most China writers have been striving for all their lives, and it is also a true reflection of their artistic path. Due to the influence of the above two aspects, compared with western literature, China literature is generally straightforward, while China literature is euphemistic, tortuous and implicit. Western literature tends to be incisive and profound, while China literature tends to be subtle and witty; Western literature is still a thousand miles extravagant talk, while China literature is still condensed by Wan Li. The difference in the general tendency of this aesthetic view is obvious.