在文化多样性的观念不断发展和保护文化多样性的实践不断推进的背景下,以非物质文化遗产为代表的小传统文化不但对基于有机统一社会观的传统文化理论是一种挑战,对于经典美学理论也是一种挑战。不难发现,小传统美学具有学术创新和文化建设的双重重要性。在与经典美学理论的对比中可以发现,小传统美学并非以美的普遍性和历史性为最基本的观念基础,而是需要研究场所记忆(“乡恋”)的文化意义,以及当代文化空间的复杂性,在此基础上认识文化多样性背景下的审美文化共享。这种审美文化共享,也正是小传统美学突破经典美学、实现美学转型发展的可能路径之一。 With the continuous development of the concept of cultural diversity and the continuous promotion of the protection of cultural diversity, the small traditional culture represented by the intangible cultural heritage not only poses a challenge to the traditional culture theory based on the organic unity of society, Aesthetic theory is also a challenge. It is not difficult to find that the small traditional aesthetics has the dual importance of academic innovation and cultural construction. In comparison with the classical theory of aesthetics, we can see that the small traditional aesthetics is not based on the most basic idea of ​​the universality and the historic nature of beauty, but needs to study the cultural significance of the place memory (“folk love”) as well as contemporary culture On the basis of this, we can understand the aesthetic and cultural sharing under the background of cultural diversity. This kind of aesthetic and cultural sharing is also one of the possible ways for small traditional aesthetics to break through the classical aesthetics and achieve aesthetic transformation and development.