Abstract

Since the 1990s, contemporary Chinese aesthetics has radually fallen into depressions and became silence after the two heated domestic debates in the 1950s and 1980s. Nowadays it is high time for Chinese scholars to make reflections on these setbacks and frustrations. Firstly we need to clarify what are the real problems that contemporary Chinese aesthetics encounters. To be short, that is, the arrival of globalization has caused a series of profound turns from aesthetics to arts. With the further expansion and penetration of globalization, theoretical aesthetic subjects and relevant problems are more salient, including the shift of contemporary aesthetic research paradigm, the basic method that we borrow western theories to interpret Chinese art works and aesthetic phenomena, the constant advancing interdisciplinary research, etc. The author’s main aim in this paper will be to explore some workable methods, which are significant to the development of the present Chinese aesthetics in this new century.