20世纪80年代初叶,“舞蹈美学”被舞蹈界和美学界所关注。王元麟《论舞蹈与生活的美学关系》可以说是最具理论深度和理论力量的论著。虽然美学界和舞蹈界有许多学者都撰写了关于“舞蹈美学”的篇章,但我以为王元麟作为舞蹈界出现的美学家,在“舞蹈美学”学术研究中的地位是首屈一指的。除了对“舞蹈美学”进行学理研究外,他一方面具体地研究了《舞蹈表演中的精、气、神》、《汉族民间舞蹈几个特点》和《扇子与手绢——论舞蹈道具》;另一方面又撰写了近40万字的论著《王元麟论美》,这部在他去逝后才得以出版的论著更是奠定了他作为舞蹈界出现的“美学家”的坚实地位。 In the early 1980s, “aesthetics of dance” was the focus of the dance and aesthetic circles. Wang Yuanlin’s Aesthetic Relationship between Dance and Life can be said to be the most theoretical depth and theoretical force. Although many scholars in the field of aesthetics and dance have written chapters on “aesthetics of dance,” I think that Wang Yuanlin, as an aesthetist in the dance world, is second to none in the academic study of “dance aesthetics.” On the one hand, in addition to his theoretical study on “Dancing Aesthetics,” on the one hand, he has studied “the essence, spirit and spirit in dance performances” and “the characteristics of Han folk dance” and “fan and handkerchief - on dance props” On the other hand, he wrote the nearly 40-thousand-word treatise “Wang Yuanlin’s Theory on Beauty.” This monograph, which was published after his death, laid even more a solid foundation for his appearance as a “esthetician” in the dance world.