中国当代美学,从50、60年代两次大论争以来,在美的本质等基本问题上存在不同意见,形成了主观派、客观派、主客观统一派、客观社会派(即后来的实践派)等四个主要学派。这些学派在“文革”之后,80年代初得到复兴和发展:同时,也出现了不少与四派不尽一致的观点和主张,但都未产生重大影响。80年代后期,蒋孔阳以实践论为基础、以创造论为核心的审美关系理论趋向成熟并受到美学界较广泛的认同,成为当代中国美学的新学派(或第五派)。与此同时,随着80年代“西学”的大量引进,中国古典美学研究的深化,以及学界研究方法的变革和视野的拓展,不少中青年美学家发挥独创稍神,在美学基础理论方面大胆突破, Since the great controversy in the 1950s and 1960s, China’s contemporary aesthetics has had different opinions on such basic issues as the nature of the United States, and has formed subjectivists, objectiveists, subjectivity and subjectivity, objective socialists (ie, later practitioners), etc. Four main schools. After these “Cultural Revolutions”, these schools have been revived and developed in the early 1980s. At the same time, quite a few opinions and propositions that differ from the four camps have emerged. However, they have not had any significant impact. In the late 1980s, Jiang Kongyang, based on the theory of practice and the aesthetic relations theory centered on the theory of creation, tended to be more maturely accepted by the aesthetic community and became the new school (or fifth group) of contemporary Chinese aesthetics. At the same time, with the introduction of a large number of “western learning” in the 1980s, the deepening of Chinese classical aesthetics studies, the transformation of academic research methods and the expansion of their horizons, many young and middle-aged aestheticians have played a unique role in the development of basic theories of aesthetics In terms of bold breakthrough,