西方崇高、悲喜剧、荒诞等美学范畴，因为是建立在价值一元论和人类中心论的时代，在价值多元并立的今天，其美学力量已经削弱；而荒诞在文化背景完全不同的中国也难以得到认同。中国的“阴柔和阳刚”作为美学范畴由于受自然性的阴阳两分法这种类型化的限制，难以突出审美在当代的多元化和个体化问题；而“情和理”的统一作为审美符号，有群体性的情理统一与个体性的情理统一之分，自然就转化为“什么样的情理统一”这一当代性提问方式；此外，“意境”理论在揭示科学家、思想家等非艺术性审美活动时，亦已显得牵强 Western aesthetics, comedy and tragedy comedy, absurd and other aesthetic categories, because it is based on the value monism and anthropocentric era, the value of pluralism today, its aesthetic power has been weakened; and absurd in a completely different cultural background in China is difficult to be recognized. As the category of aesthetics, the “feminine and masculine” category in China is limited by the type of yin and yang dichotomy of nature, which makes it difficult to highlight the issue of diversification and individualization of aesthetics in the contemporary era. The unification of “feeling and reason” as an aesthetic symbol , There is a unity between individualistic reason and individual reason and nature, which is transformed into a contemporary questioning method of “what kind of unification of reason and reason”; in addition, the theory of “artistic conception” reveals the non-artistic aesthetic activities of scientists and thinkers When it has also become far-fetched