| Since the 1990s, Chinese contemporary aesthetics enters into a new historical period and takes place aesthetic transformation, but it also faces the predicaments to develop further at the same time. Only when we are only based on the tradition formed in the Chinese contemporary aesthetics, can we walk out of the predicaments really. Reviewing the study's course of Chinese contemporary aesthetics passing by over half a century, it is not difficult to find the tradition formed in the Chinese contemporary aesthetics which is relative with an early work by Marx, Economic & Philosophical Manuscripts of 1844 (Called Manuscript briefly hereafter in this thesis). Then, what on earth is the kind of relation? Centered on this question, the thesis try to sketch the relation between them from the angles of their relation and aesthetic transformation so as to make beneficial exploration in development to the future of aesthetics while deepening the understanding of the Chinese contemporary aesthetic history. The thesis divides into seven chapters including introduction and conclusion.Introduction includes three parts. First is the study's value and meaning. Manuscript not only influences the historical course and the linguistic building of Chinese contemporary aesthetics, but also is the bible of the Practice Aesthetics, which is the main school in Chinese contemporary aesthetics. Then, when the Chinese contemporary aesthetics begins to transform since the 1990s, especially when the Post-practice Aesthetics claims to surmount Practice Aesthetics, what value is the Manuscript? We really find the value of Manuscript only putting it in the history of Chinese contemporary aesthetics. We also really understand the value of Manuscript in the future development of Chinese contemporary aesthetics only understanding the relation between them. Second is the current situation. Manuscript takes important part in Chinese contemporary aesthetics, but the study of the relation between them cannot make people enough attention. Through the inspection, it is found that people often only pay attention to the study hot of aesthetics in the 1950-60s and the 1980s, but do nearly not study the relation between Manuscript and the tradition formation. Third is the methods and thinking. The thesis takes the methods by center of question and combines by the history and comment, penetrating historical clue into question, in order to grasp clearly the concrete relation between Manuscript and Chinese contemporary aesthetics.Chapter one is Manuscript and the choice of Chinese contemporary aesthetic linguist. The chapter divides into three sections to introduce historical context. Section one is the total context that Chinese contemporary aesthetics takes place. The establishment of new China is not merely a birth of new regime, a setting-up of a kind of new ideology even more. The regime regards clearly Marxism as guidelines. Its establishment and birth determines Chinese contemporary aesthetics must regard Marxism as own basic director. They prove certain no matter from the angle of political context, artistic context or aesthetic context. Section two is study hot about Manuscript in international aesthetics. No matter former Soviet Union aesthetics to Manuscript and Western Marxism aesthetics to Manuscript, both of them influence the Chinese contemporary aesthetics. Especially the discussion occurred in the 1950-60s in former Soviet about aesthetic essence influences the acceptance to Manuscript directly. Section three is inherent logic of Chinese contemporary aesthetic development. In the free aesthetic discussions in the 1950-60s, the apparent question is the essence of beauty, in fact, its more potential problem is to answer the relation between utilitarian and super-utilitarian. Li Zehou links up Manuscript with the answer to this question at first. He has not only answer the question at a certain extent, but also he makes the world of Chinese aesthetics to learn the value of Manuscript. Thus, Manuscript is learned and accepted by the world of Chinese aesthetics. After Culture Revolution, the study hot of aesthetics takes place again. With the discussion about alienation and humanism, the value of Manuscript is revealed again. In the study hot of aesthetics and Manuscript, Manuscript influences the building of Chinese contemporary aesthetic linguist on one hand and is accepted by Chinese contemporary aesthetics on other hand.Chapter two is Manuscript and philosophical foundation of Chinese contemporary aesthetics. The chapter divides into two sections to introduce the relation between Manuscript and the building course of philosophical foundation of Chinese contemporary aesthetics. Section one is the view of philosophy and aesthetics of Manuscript. No matter according to Marx's writing background and purpose, writing content and methods to analyze questions, Manuscript proves Marx has walk into a new field and forms a sprout of new philosophical view. On philosophical view, it has formed the sprout of scientific practice's view, the sprout of the scientific person's essential theory, the sprout of historical materialism. On aesthetic view, Marx thinks the creation of beauty and the formation of aesthetic feeling linking with labor and makes the study of beauty on the basis of labor. At the same time, he studies the essence of beauty from the essence of human being and offers a new mode of thinking to study the essence of beauty. Furthermore, Marx gives deep historical meaning to the study of essence of beauty and aesthetic feeling. Section two is Manuscript and the building course of Chinese contemporary aesthetic philosophical foundation. Manuscript is disputable as an early Marx's work. Because of the different angles of understanding, the researchers have different attitudes to Manuscript. According to the views of philosophy and aesthetics and the different attitudes, we analyze three angles, the view of labor, the view of person's essence and historical materialism, which are relative between Manuscript and the Chinese contemporary aesthetics. Though they are different, they are accord and all unites into labor. At the point, the thesis thinks Manuscript influences the historical course from theory of the mechanical reflection to the theory of practice.Chapter three is Manuscript and the basic question of Chinese contemporary aesthetics (Up). The chapter divides into three sections to analyze the dispute of three basic categories and propositions about Manuscript and the answer to the basic questions of Chinese contemporary aesthetics. Section one is "Labor produce beauty" and the origin of beauty. The explanation to the category of labor and the proposition of "Labor produce beauty" is always disputable. But anyway, through the dispute and explanation, the proposition of "Labor produce beauty" answers the origin of beauty and aesthetic feeling and sets up the sturdy foundation to the origin of beauty. Section two is "humanized nature" and the essence of the beauty. Li Zehou not only use the theory of "humanized nature" to resolve the contradiction of aesthetic feeling and put forward to his own aesthetic view in the 1950-60s. In the hot aesthetics of the 1980s, it becomes the definition of beauty with another proposition in Manuscript "objectification to person's essential power" because it includes the dimension of person. But Manuscript is an early work by Marx with Feuerbach's humanism so that it becomes disputable focus questions about the nature of its Marxism and the possibility to define the essence of beauty. It plays an extremely vital role to break mechanical materialism esthetics view and offers a new way to ponder the essence of beauty. Section three is "The law of beauty" and the law of the productive beauty. Its focus questions are whether the law of beauty is an objective law or a productive law and how to explain the relation between the law of beauty and the two rules offered by Marx. The law of beauty is put forward when Marx discusses the differences of production between person and animal. So, it must be a kind of law that reflect person's special characteristic of production. Because the essence of person is free and conscientious, the law of beauty must be a kind of productive law. Though how to understand the law of beauty is disputable, its creativity builds the sturdy base to the productive of beauty.Chapter four is Manuscript and the basic question Chinese contemporary aesthetics (Down). The chapter divides into three sections to introduce the thinking formed through the acceptance to Manuscript' theory in Chinese contemporary aesthetics. Section one is the essence of beauty. There are three kinds of different thinking to answer the question on the basis of absorbing the relevant theories of Manuscript. First is the angle of origin as Li Zehou for representative. He answers the origin of beauty according the "humanized nature" and so on. Second is the angle of relation as Zhu Guangqian, Jiang Kongyang and Zhou Laixiang for representatives. Zhu Guangqian formed the thinking from the relation between brain and thing, but was absent of the theory's foundation and walked the idealism. After the establishment of new China, he forms new theory of relation by absorbing the theory of labor in Manuscript. At the same time, Jiang Kongyang and Zhou Laixiang also insist on studying the essence from the aesthetic relation after absorbing the thought. Third is the angle of law as Cai Yi for representative. Cai Yi's theory of representative is influenced by Manuscript at the beginning of it put forward. After the Culture Revolution, he deepens his thought by studying the law of beauty in Manuscript. From the angle of law to study the question of essence of beauty, it provides a kind of new angle to the study the essence without doubt. At the same time, the researchers of Practice Aesthetics also approve the angle. Because they not only answer the origin of beauty but also the essence of beauty itself, the angle of law also becomes a thinking to study to them. But they are different in explain the law of beauty from the Objective Aesthetics. Section two is the aesthetic feeling. The beauty is relative with the aesthetic feeling. The understanding to beauty determines the understanding to the aesthetics feeling. Thus, it also forms two kinds of thinking in the answer to the aesthetic feeling. First is the angle of origin also as Li Zehou for representative. He answers the origin of the aesthetic feeling according humanised inherent nature. Second is the angle of relation also as Zhu Guangqian, Jiang Kongyang and Zhou Laixiang for representatives. They think the beauty and the aesthetic feeling produce from the aesthetic relation. Section three is the essence of art. Art is regarded as the direct reflect to reality under the influence of the theory of mechanical reflection before New Period, which neglects the subjective creation. After Cultural Revelation, it forms two kinds of thinking about the essence of art. First is the theory of subjective creation as Zhu Guangqian, Jiang Kongyang and Liu Zaifu for representatives. In the 1950-60s, Zhu Guangqian offers art is not merely a reflection to reality but also a kind of creation according to discipline that art is a kind of labor. After Cultural Revolution, he deepens further the thought. After New Period, Jiang Kongyang offers the said of creation according to objectification to person's essential power and so on. Liu Zaifu absorbs the theory of Li Zehou's subjectivity, but stresses further the function of spirit subjectivity in artistic creation. Second is the theory of aesthetic essence as Li Zehou, Tong Qingbing and Qian Zhongwen for representatives. After entering new period, Li ZeHou's understanding of thinking in image gets new progresses. He thinks thinking in image is not a mode of thinking, but a kind of comprehensive mental process. According the character of the thinking in image, he proposed art is not merely one kind of understanding. It accords a kind of emotion logic with conscious characters. Thus, he becomes a pioneer of the aesthetic essence. Tong Qingbing proposes the essence of art is not imagic but aesthetic according to the theory of former Soviet aesthetic society. Qian Zhongwen offers the essence of art is aesthetic in insisting on basis of reflection. At the point of aesthetic essence, they are same. They stress the formation of subjective aesthetic psychological structure, which originates from the theory of Manuscript's aesthetic feeling.Chapter five is Manuscript and the future trends of China's contemporary aesthetics. The chapter divides two sections to discuss the relation between Manuscript and three different kinds of exploring orientation in aesthetic transformation and the realistic meaning of Manuscript to the Chinese contemporary aesthetic future development. Section one is Manuscript and three kinds of aesthetic exploring orientation. Since the 1990s, it forms many different kinds of exploring orientation in recollecting and surmounting Practice Aesthetics, but only three kinds obtain achievement, namely Post-practical Aesthetics, the study of aesthetic culture and Ecological Aesthetics. Though they have an attitude of recollection and surmount, they do not always repel Manuscript, which is the important origin to Practice Aesthetics. Instead, they absorb the theory from Manuscript in a certain extent. For example, the theories of Post-practice Aesthetics' schools come from western modern philosophy and aesthetics, but they all try to find reasonable proofs in Manuscript. Frankford's criticizing theory, which is one of important resources of the study of aesthetic culture, is close relative with Manuscript. A lot of researchers in Ecological Aesthetics re-understand the propositions in Manuscript directly from the angle of ecology. Second is the realistic meaning of Manuscript in Chinese contemporary aesthetics. Though time changes, Manuscript still has important realistic meanings in Chinese contemporary aesthetics. First is the source of the thought of Marxism aesthetics. Manuscript is the source of theory of not only the classical Marxism aesthetics but also postclassical Marxism aesthetics. So, we cannot leave Manuscript when we build and develop the Marxism's aesthetics. Second is theory's foundation of Chinese contemporary aesthetics. If Chinese contemporary aesthetics obtains breakthrough progresses, it must root into the tradition formed in the course of development of Chinese contemporary aesthetics, while the tradition is closely relative with Manuscript. Three is new interpretation under new era's condition. Marxism aesthetics is an open system, which possesses the character of change with era. Manuscript provides Chinese aesthetics some discipline but conclusion. So, in new era's condition, it must embody new strength of theory's explanation.Conclusion is the last part of the thesis. If the former five chapters all study the relation between Manuscript and Chinese contemporary aesthetics as question, then in conclusion, we retrospect and summary historical position in Chinese contemporary aesthetics from the angle of time. Chinese contemporary aesthetics divides into three historical periods, namely the free discussion in the 1950-60s, the hot aesthetics in 1980s and the aesthetic transformation since the 1990s. In the 1950-60s, it overcomes the trend of mechanical materialism in aesthetic study though former Practice Aesthetics and the school of the subjective and objective united absorb the theory from Manuscript. In the 1980s, the categories and positions in Manuscript enter into the building of Chinese contemporary aesthetics through the hot study of Manuscript and aesthetics lasting years and become an important basic linguist of Chinese contemporary aesthetics. Since the 1990s with the transformation of Chinese contemporary aesthetics, Manuscript participates in the building of Chinese contemporary aesthetics with new posture. We believe, in past, Manuscript influences the building of Chinese contemporary aesthetics. At the same time, under new era's condition, it cannot be forget and radiate out new theory's light instead. Chinese contemporary aesthetics is also sure to walk towards a brilliant future.
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