美学还没从西方传入中国之前，古代中国没有美学。在廿世纪，有不少重要美学家把西方的美学著作翻译或改编而引进中国，为中国美学的发展做出了巨大贡献。
回顾当年，我们发现不少美学家对中西文化的态度是正面的。因此，他们不但有意识的学习西方美学理论，还积极的更生中国美学和尝试把中国传统美学现代化。
王国维(1877–1927)，就是这样的一个学者。他是当时一个优秀的中国美学家，可说是第一个把西方美学介绍到中国的人。
他在‘国学丛刊’序中写道：
所谓学无新旧、无中西、无有用无用之说，可得而详焉.....
世界学问，不出科学、史学、文学。故中国之学，西国皆有之，西国之学，我国亦类皆有之；所异者，广狭疏密耳.....
余谓中西二学，盛则俱盛，衰则俱衰，风气既开，互相推助。
.
Before the concept of Aesthetics was introduced to China from the West, it was not an academic discipline on its own. The During the 20th century, there were many important aestheticians in China who made great contributions to the development of this subject by translating or adapting the Western aesthetic works into Chinese.
Looking back, it is noticeable that the attitude of most of the aestheticians at that time were positive towards both Chinese and foreign cultures. As such, they not only consciously learned the western modern aesthetic theory, they also actively revived and attempted to modernise the Chinese traditional aesthetics.
Wang Guowei (1877–1927) is one of such scholars. Wang Guowei was among the best during his time for the studies of ancient aesthetics in China, probably was the first person to introduce Western meixue to China.
His said in his Foreword to the Journal of Chinese Studies that:
It is clear that the nature of learning has nothing to do with making a distinction between the modern and the classical, the western and Chinese, or the useless and the useful…….
Human knowledge in the world is basically contained in such disciplines as science, history and literary studies. These studies exist in both China and western nations. The only difference is that they vary in the degree of depth and superficiality.
I would say that Chinese and western studies cannot be done without each other in terms of their respective rise and fall. There is a need to promote both to the extent that they thrive and decline in a synchronous fashion.
回顾当年，我们发现不少美学家对中西文化的态度是正面的。因此，他们不但有意识的学习西方美学理论，还积极的更生中国美学和尝试把中国传统美学现代化。
王国维(1877–1927)，就是这样的一个学者。他是当时一个优秀的中国美学家，可说是第一个把西方美学介绍到中国的人。
他在‘国学丛刊’序中写道：
所谓学无新旧、无中西、无有用无用之说，可得而详焉.....
世界学问，不出科学、史学、文学。故中国之学，西国皆有之，西国之学，我国亦类皆有之；所异者，广狭疏密耳.....
余谓中西二学，盛则俱盛，衰则俱衰，风气既开，互相推助。
.
Before the concept of Aesthetics was introduced to China from the West, it was not an academic discipline on its own. The During the 20th century, there were many important aestheticians in China who made great contributions to the development of this subject by translating or adapting the Western aesthetic works into Chinese.
Looking back, it is noticeable that the attitude of most of the aestheticians at that time were positive towards both Chinese and foreign cultures. As such, they not only consciously learned the western modern aesthetic theory, they also actively revived and attempted to modernise the Chinese traditional aesthetics.
Wang Guowei (1877–1927) is one of such scholars. Wang Guowei was among the best during his time for the studies of ancient aesthetics in China, probably was the first person to introduce Western meixue to China.
His said in his Foreword to the Journal of Chinese Studies that:
It is clear that the nature of learning has nothing to do with making a distinction between the modern and the classical, the western and Chinese, or the useless and the useful…….
Human knowledge in the world is basically contained in such disciplines as science, history and literary studies. These studies exist in both China and western nations. The only difference is that they vary in the degree of depth and superficiality.
I would say that Chinese and western studies cannot be done without each other in terms of their respective rise and fall. There is a need to promote both to the extent that they thrive and decline in a synchronous fashion.
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