Intersubjectivity and Chinese Contemporary Aesthetics

In recent years, “intersubjectivity” has become a key word in contemporary Chinese aesthetics, we can start from tracking the development of this concept to give the review of “New Period” aesthetics and the prospect of “New Era” aesthetics. The philosophical background of intersubjectivity has been changed quietly as the influx of phenomenology after the China’s Reform and Opening-up. Important achievements of aesthetic since the New Period, such as practical aesthetics, new practical aesthetics, post-practical aesthetics, life aesthetics, realm aesthetics, phenomenological aesthetics, all contained the concept of intersubjectivity, which make the preparation for developing a true intersubjective aesthetics in the future. Intersubjective aesthetics can be also seeing as “the aesthetics of cultural philosophy”. The aesthetics of the New Period have experienced two major stages: the first is from 1949 to 1989, Chinese scholars interpreted aesthetics as “the scholarship of beauty”; the second is after 1990, “aesthetics” has changed into the understanding of aesthetics experience. Only taking the aesthetics as cultural philosophy can we beyond the New Period aesthetics and built the New Era aesthetics, which can help us to get out of the current stagnation of aesthetics and keep pace with the development of world aesthetics.