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《1844年经济学哲学手稿》(以下简称《手稿》)与中国当代美学之间有着不解之缘。从其20世纪三四十年代较早被引用,到五六十年代广为知晓,再到80年代的研究热,乃至90年代以来的重读热等,可以说每次《手稿》研究都促进了中国当代美学的发展。虽然关于《手稿》的地位充满争议,但它却为中国当代美学所接受。其中,既有《手稿》本身的原因,也有西方马克思主义与苏联《手稿》审美讨论成果译介的影响,又有中国当代美学发展的内在逻辑。中国当代美学虽然形成了不同的理论流派和观点,但是《手稿》却几乎为各家各派所共同接受,甚至直接参与到各自的理论建构中。这也构成了马克思主义理论中国化的一个典型,为马克思主义美学的中国化提供了诸多启示。
“Economic and Philosophical Manuscripts in 1844” (hereinafter referred to as “Manuscripts”) and Chinese contemporary aesthetics have a bond between. From its earlier reference in the 1930s and 1940s to its widespread awareness in the 1950s and 1960s, to the research hot in the 1980s and even the rehearsal of the 1990s, it can be said that each manuscript study promoted The Development of Chinese Contemporary Aesthetics. Although controversial about the status of Manuscripts, it is accepted by Chinese contemporary aesthetics. Among them, there are not only the reasons of the “manuscript” itself, but also the influence of the translation and interpretation of the aesthetic discussions between the Western Marxism and the “manuscript” in the Soviet Union, as well as the inherent logic of the development of contemporary Chinese aesthetics. Although contemporary Chinese aesthetics formed different theoretical schools and opinions, “manuscripts” were accepted by almost all kinds of parties and even directly involved in their own theoretical construction. This also constitutes a typical sinicization of Marxist theory, which has provided many enlightenments for the sinicization of Marxism in China.