对于十八世纪中叶的中国思想家章学诚,今天的史学界并不陌生;但在美学领域,人们对他显然所知甚少。然而,在章学诚的历史观念和文化意识之中,隐藏着他对中国美学的深刻反思。这集中反映在他的主要著作《文史通义》一书中。 章学诚指出:“夫立言之要,在于有物。古人著为文章,皆本于中之所见,初非好为炳炳烺烺,如锦工绣女之矜夸采色已也。富贵公子,虽醉梦中,不能作寒酸求乞语;疾痛患难之人,虽置之丝竹华宴之场,不能易其呻吟而作欢笑。此声之所以肖其心,而文之所以不能彼此相易,各自成家者也.”(《文史通义·文理》) For Zhang Xuecheng, a Chinese thinker in the middle of the eighteenth century, today’s historians are no strangers to history; but in the field of aesthetics people apparently know little about him. However, in Zhang Xuecheng’s historical concepts and cultural awareness, he conceals his deep reflection on Chinese aesthetics. This is mainly reflected in his masterpiece, “Literary History”. Zhang Xuecheng pointed out: “husband’s words must be, there is something. The ancients for the article, are all in this view, the beginning of non-good for Bingbing, such as Kam workers embroidered women’s boast color has also been rich son, Although drunk, can not be begging for the shabby; suffering painful people, although set the scene of silk bamboo banquet, can not easily moan for laughter. The reason why this sound Xiao Shaixin, and the reason why the text can not be mutually easy , Their own family also. ”(“ Literary history Tongyi · liberal arts ”)