如果说,百年中国现代美学史的每一步都与西方美学的“介入”息息相关,那么,当把西方美学从柏拉图到后现代理论都学习一遍之后,我们还能做什么呢?这个中国语境下的“后现代之后”的问题,说到底也就是如何走出“美学在中国”的尴尬,创立真正的“中国美学”的问题。对此,虽然从20世纪50年代的美学大讨论到80年代以来实践美学与后实践美学之争,几代人都在思考这个问题,但是,对今天的美学研究者而言,由于时代变了,消费经济、大众文化和互联网大大解放了人们的感性,因而对理论的需求也更趋迫切和强烈了。我们相信,美学既然被冠之为感性学,既然奠基于人类的情感与审美活动,那么中国美学必然要反映中国的感性、中国的情感和中国的审美,充满主体意识的“中国美学”只有在直面中国经验和中国传统中才能创立起来。为此,本刊以“探索中国美学的当代进路”为题,编发五位著名美学专家的思考,以飨读者。读者们会发现,尽管他们给出的具体答案不尽相同,各有鲜明的个性,但是他们对于中国当下问题的重视却是高度的一致,这足以给我们以深刻的启示。 If we say that every step of the centennial history of modern Chinese aesthetics is closely related to Western intervention in western aesthetics, what can we do when we learn Western aesthetics from Plato to postmodern theory? In the final analysis, after the question of “post-modernism”, the question of how to get out of the embarrassment of “aesthetics in China” and create a true “Chinese aesthetics” is the ultimate question. In this regard, although generations of people are contemplating this issue from the aesthetics debate in the 1950s to the controversy between practical and post-practical aesthetics since the 1980s, for today’s aesthetic researchers, as the times have changed The consumer economy, popular culture and the Internet have greatly liberated people’s perceptions. Therefore, the demand for the theory has become more urgent and intense. We believe that since aesthetics is regarded as a sentiment, since it is based on human emotions and aesthetic activities, Chinese aesthetics must reflect China’s sentiments, Chinese sentiments and Chinese aesthetics, and “Chinese aesthetics” full of subjective consciousness. Only in the face of Chinese experience and Chinese tradition can we be created. To this end, the magazine to “explore the contemporary path of Chinese aesthetics ” as the title, compiled five well-known aesthetic experts to readers, readers. Readers will find that although they give different answers and have distinct personalities, their emphasis on the current problems in China is highly consistent, which is enough to give us a profound revelation.