“静穆”作为一种艺术审美观念,在朱光潜的美学及文学批评体系中占有重要地位,它的形成直接源于朱光潜对欧洲近代美学的吸收与借鉴,有着丰富的内涵。它在二十世纪三十年代被朱光潜提出时,遭到了鲁迅等人的严重批评。建国后,朱光潜从美学上的唯心主义者转变为马克思主义者,对自己的文艺思想进行反思,引发了五六十年代的美学大讨论,九十年代许多学者对“静穆”说进行新的评价。本文试从新时代背景出发进行反思,认为应从纯粹艺术观的角度看待“静穆”说所体现的审美超功利性,发挥它在美学范畴中的学术价值及时代生活中的审美价值。 As an aesthetic concept of art, Jing and Mu occupy an important position in Zhu Guangqian ’s aesthetics and literary criticism system. Its formation derives directly from Zhu Guangqian’ s absorption and reference of European modern aesthetics and has rich connotations. When it was put forward by Zhu Guangqian in the 1930s, it was severely criticized by Lu Xun et al. After the founding of the People’s Republic, Zhu Guangqian transformed himself from an aesthetic idealist to a Marxist and reconsidered his literary thought, triggering a great aesthetics debate in the 1950s and 1960s. Many scholars in the 1990s carried out a new evaluation of. This paper attempts to reflect from the background of the new era and thinks that the aesthetic super utilitarian embodied in the “quiet and quiet” theory should be viewed from the perspective of purely artistic perspective and that it should exert its academic value in the category of aesthetics and the aesthetic value in contemporary life.