在文化变革的九十年代,古典美学研究也要跟上时代的步伐,与当代美学研究的沟通将是深化古典美学研究的重要途径。古典美学研究不应仅仅局限于古代美学的理论材料,而要面对更丰富更活泼的美学发展现象,尤其是一些以物质形态存在并保留至今的古典美学材料,如建筑、雕塑、工艺品、服饰、家具等等,它们包含着丰富的审美创造经验。总结这些丰富而活泼的审美创造经验,会使我们感到古典美学理论的生命力,同时又感到它给当代美学的现实发展提供了理论材料和遗产的借鉴。我读过台湾美学家蒋黝先生《美的沉思》一书,就深深为该书丰富而生动的美学材料所吸引,同时又感到它 In the nineties of cultural change, the study of classical aesthetics must keep up with the pace of the times. Communication with contemporary aesthetics will be an important way to deepen the study of classical aesthetics. Classical aesthetics should not only be confined to the theoretical material of ancient aesthetics, but also to the richer and more avant-garde development of aesthetics. In particular, classical aesthetics materials that exist in physical form and are still in existence so far, such as architecture, sculpture, handicrafts, costumes , Furniture, etc., they contain a wealth of aesthetic creation experience. Summarizing these rich and lively experiences of aesthetic creation will make us feel the vitality of classical aesthetics theory and at the same time, it feels that it provides a theoretical material and a reference for the development of contemporary aesthetics. I have read the book “Meditations on Beauty” by Taiwanese aesthetist Jiang Yan, deeply attracted by the rich and vivid aesthetics of the book,