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I happily read "Oral History of Contemporary Chinese Aesthetics", and my first impression after reading it was: this is a rich oral history about the growth process of new Chinese aesthetics. Since most of the scholars interviewed were seniors and long-term friends of the aesthetic community that I knew well, I felt particularly intimate in reading their conversations, just as I used to listen to their high opinions in person. They are witnesses and witnesses of this history, and thanks to Li Shitao and Dai Abao's interviews with them, we have left a true record of the growth and development of contemporary Chinese aesthetics. "Oral History" has given me some useful inspiration, and I think it is of great reference value for carrying out aesthetic research and teaching in China. First, we must attach importance to the discipline construction of aesthetics. China has a long aesthetic tradition and developed aesthetic culture in its history, and from the "Chinese Aesthetic Library of Past Dynasties" edited by Mr. Ye Lang, we can see how rich the aesthetic ideological resources of China are. This is the precious cultural heritage and spiritual wealth created by our ancestors. However, it goes without saying that aesthetics, as an independent discipline, emerged late in China, and the construction of related disciplines can be said to have basically begun after the establishment of New China. "Oral History" describes the great discussion of aesthetics in the 50s and 60s of the 20th century and the compilation of aesthetic textbooks by the national aesthetic force organized by the state with detailed materials, and gives a fully affirmative evaluation, believing that it is the "foundation" for the discipline of aesthetics. This view is quite appropriate. It was from that time that some basic problems of aesthetics began to be studied more systematically, some sub-disciplines of aesthetics were gradually established, aesthetics research teams were gradually formed, and the collection and publication of Chinese and foreign aesthetic materials also provided convenience for research work, and this kind of "foundation-laying" work did make significant contributions to the development of Chinese aesthetics later. Of course, the task of building the discipline of aesthetics has not yet been completed, and efforts are needed. Only by making full theoretical discussions and preparations, cultivating a strong research force, accumulating a large number of research materials, and establishing our own aesthetic theory system with Chinese characteristics can we truly make contemporary Chinese aesthetics develop and become an indispensable discipline for the construction of socialist spiritual civilization. Second, the Oral History tells us that the development of aesthetics requires a good academic environment and a relaxed academic atmosphere. Facts have proved that in China, the establishment and development of a discipline not only depends on the hard work and hard work of scholars, but also depends to a large extent on whether the "double hundred policy" is adhered to and implemented in this academic field. Looking back at history, since the central authorities put forward the "Double Hundred Principles," they have effectively promoted the progress of science, culture, and art, but in the process of implementing them, they have also encountered many obstacles and some problems, and in the "Cultural Revolution," the "Double Hundred Principles" were abandoned like a waste, and science, culture, and art were dealt a devastating blow. This painful lesson is worth learning forever. Comparatively speaking, in the discipline of aesthetics, the "double hundred policy" is well implemented. Carry out full free discussion on academic issues, speak freely, allow bold exploration in many aspects, encourage scientific research seeking truth from facts, and form different academic views and schools on this basis, and for a while aesthetics flourished. After the catastrophe of the "Cultural Revolution", aesthetic research also recovered relatively quickly, and was able to make great strides and achieve unprecedented achievements, which should first be regarded as the result of the implementation of the reform and opening up policy and the resolute implementation of the "double hundred policy" after the Third Plenary Session of the Eleventh Central Committee. Third, it can be seen from the "Oral History" that one of the basic experiences of China's contemporary aesthetic development is to adhere to Marxism as the guide and closely integrate the basic principles of Marxist aesthetics with China's reality. This is a major feature of contemporary Chinese aesthetics, and it is also a major advantage. Although aesthetic researchers in China hold different academic views, most of them try to use Marxist views to explain aesthetic problems according to their own understanding, and I think this should be allowed. Marxism does not provide people with ready-made answers or dogmas to aesthetic problems, but scientific research methods, so in the field of aesthetics, Marxism does not and cannot exhaust the truth, but only provides scientific means for exploring and understanding the truth, and opens up the road to the truth. In order to truly establish a Marxist aesthetics, it is absolutely impossible to complete the task by simply quoting and extracting sentences from classic works; it requires a lot of hard creative labor, in-depth theoretical discussions, and earnestly and seriously studying history and reality. We must bear in mind Engels' admonition: "Even the development of materialist views on a single historical example is a scientific work that requires years of sober study, because it is clear that empty words here will not help, and such a task can only be solved by relying on a large number of critically examined and fully grasped historical materials." The task of establishing Marxist aesthetics is heavy and long, this is a little impression after reading "Oral History", and I hope to share it with comrades. Ru Xin, President of the All-China Association of Aesthetics and former Vice President of the Chinese Academy of Social Sciences, March 2010（AI翻译）
