我高兴地读了《中国当代美学口述史》，读后的第一个印象是:这是关于新中国美学成长过程的一部内容丰富的口述历史。由于接受访谈的学者大多是我熟识的美学界的前辈和多年的朋友，读他们的谈话感到特别亲切，就像过去当面聆听他们的高见一样。他们是这段历史的亲历者、见证人，感谢李世涛、戴阿宝两位对他们的采访给我们留下了一份关于中国当代美学成长发展的真实的记录。《口述史》给了我一些有益的启示，我以为这对开展我国美学研究和教学是有重要参考价值的。第一，要重视美学的学科建设。中国历史上有悠久的美学传统和发达的审美文化，从叶朗先生主编的《中国历代美学文库》，就可看到我国有多么丰富的美学思想资源。这是我们祖先创造的宝贵的文化遗产和精神财富。但是，毋庸讳言，美学作为一门独立的学科来说在我国产生较晚，而有关的学科建设则可以说基本上是在新中国建立后才着手进行的。《口述史》以翔实的材料描述了20世纪50—60年代美学大讨论和由国家组织全国美学力量编写美学教科书的经过，给予充分肯定的评价，认为是为美学这门学科“奠基”。这一看法是很恰当的。正是从那个时候起，对美学的一些基本问题开始进行较系统的研究，美学的某些分支学科逐步建立，美学的研究队伍逐渐形成，中外美学资料的收集和出版也为研究工作提供了方便，这种种“奠基”的工作确实为后来中国美学的发展做出了重大贡献。当然，美学学科建设的任务还没有完成，尚需继续努力。只有在理论上作了充分的探讨和准备，培养出一支强大的研究力量，积累了大量研究资料，建立起我们自己的有中国特色的美学理论体系，才能真正使中国当代美学发展壮大，成为社会主义精神文明建设必不可少的一门学科。第二，《口述史》告诉我们，美学的发展需要有良好的学术环境和宽松的学术气氛。事实证明，在我国，一门学科的建立和发展不仅有赖于学者们的努力探索和辛勤耕耘，而且在很大程度上取决于在这一学术领域内是否坚持和贯彻实施“双百方针”。回顾历史，自从中央提出“双百方针”后，有力地促进了科学和文化艺术事业的进步，但在贯彻落实的过程中也遇到不少阻力，出现一些问题，而到了“文化大革命”，“双百方针”被弃之如敝屣，科学文化艺术遭到了毁灭性的打击。这一沉痛的教训值得我们永远汲取。比较而言，在美学这一学科领域内，“双百方针”贯彻得较好。在学术问题上开展充分的自由讨论，畅所欲言，允许进行多方面的大胆探索，鼓励实事求是的科学研究，在此基础上形成不同的学术观点和学派，一时出现了美学的繁荣。经过“文化大革命”的浩劫，美学研究回复元气也是比较快的，而且得以大踏步前进，取得前所未有的成就，这首先应看作是十一届三中全会后实行改革开放政策、坚决贯彻“双百方针”的结果。第三，从《口述史》可以看到，我国当代美学发展的一条基本经验就是坚持以马克思主义为指导，把马克思主义美学基本原理与中国实际紧密地相结合。这是中国当代美学的一大特点，也是一大优点。我国美学研究者虽然持有不同学术观点，但他们绝大多数都试图根据自己的理解运用马克思主义观点去解释美学问题，我想这是应该允许的。马克思主义为人们提供的不是对美学问题的现成的答案或教条，而是科学的研究方法，因此在美学领域内马克思主义并没有也不可能穷尽真理，而只是为探索和认识真理提供了科学的手段，开拓了通向真理的道路。要想真正建立一门马克思主义美学，光从经典著作中引章摘句是绝对完成不了任务的，需要付出大量辛勤的创造性劳动，开展深入的理论探讨，切实地认真研究历史与现实，需要有严谨的治学精神，具备深厚的学术积累，绝非一日之功。我们要牢记恩格斯的告诫:“即使只是在一个单独的历史实例上发展唯物主义的观点，也是一项要求多年冷静钻研的科学工作，因为很明显，在这里只说空话是无济于事的，只有靠大量的、批判地审查过的、充分地掌握了的历史资料，才能解决这样的任务。”建立马克思主义美学，任重而道远，这是《口述史》读后的一点感想，希望与同志们共勉。中华全国美学会会长中国社会科学院原副院长 汝信 2010年3月

I happily read "Oral History of Contemporary Chinese Aesthetics", and my first impression after reading it was: this is a rich oral history about the growth process of new Chinese aesthetics. Since most of the scholars interviewed were seniors and long-term friends of the aesthetic community that I knew well, I felt particularly intimate in reading their conversations, just as I used to listen to their high opinions in person. They are witnesses and witnesses of this history, and thanks to Li Shitao and Dai Abao's interviews with them, we have left a true record of the growth and development of contemporary Chinese aesthetics. "Oral History" has given me some useful inspiration, and I think it is of great reference value for carrying out aesthetic research and teaching in China. First, we must attach importance to the discipline construction of aesthetics. China has a long aesthetic tradition and developed aesthetic culture in its history, and from the "Chinese Aesthetic Library of Past Dynasties" edited by Mr. Ye Lang, we can see how rich the aesthetic ideological resources of China are. This is the precious cultural heritage and spiritual wealth created by our ancestors. However, it goes without saying that aesthetics, as an independent discipline, emerged late in China, and the construction of related disciplines can be said to have basically begun after the establishment of New China. "Oral History" describes the great discussion of aesthetics in the 50s and 60s of the 20th century and the compilation of aesthetic textbooks by the national aesthetic force organized by the state with detailed materials, and gives a fully affirmative evaluation, believing that it is the "foundation" for the discipline of aesthetics. This view is quite appropriate. It was from that time that some basic problems of aesthetics began to be studied more systematically, some sub-disciplines of aesthetics were gradually established, aesthetics research teams were gradually formed, and the collection and publication of Chinese and foreign aesthetic materials also provided convenience for research work, and this kind of "foundation-laying" work did make significant contributions to the development of Chinese aesthetics later. Of course, the task of building the discipline of aesthetics has not yet been completed, and efforts are needed. Only by making full theoretical discussions and preparations, cultivating a strong research force, accumulating a large number of research materials, and establishing our own aesthetic theory system with Chinese characteristics can we truly make contemporary Chinese aesthetics develop and become an indispensable discipline for the construction of socialist spiritual civilization. Second, the Oral History tells us that the development of aesthetics requires a good academic environment and a relaxed academic atmosphere. Facts have proved that in China, the establishment and development of a discipline not only depends on the hard work and hard work of scholars, but also depends to a large extent on whether the "double hundred policy" is adhered to and implemented in this academic field. Looking back at history, since the central authorities put forward the "Double Hundred Principles," they have effectively promoted the progress of science, culture, and art, but in the process of implementing them, they have also encountered many obstacles and some problems, and in the "Cultural Revolution," the "Double Hundred Principles" were abandoned like a waste, and science, culture, and art were dealt a devastating blow. This painful lesson is worth learning forever. Comparatively speaking, in the discipline of aesthetics, the "double hundred policy" is well implemented. Carry out full free discussion on academic issues, speak freely, allow bold exploration in many aspects, encourage scientific research seeking truth from facts, and form different academic views and schools on this basis, and for a while aesthetics flourished. After the catastrophe of the "Cultural Revolution", aesthetic research also recovered relatively quickly, and was able to make great strides and achieve unprecedented achievements, which should first be regarded as the result of the implementation of the reform and opening up policy and the resolute implementation of the "double hundred policy" after the Third Plenary Session of the Eleventh Central Committee. Third, it can be seen from the "Oral History" that one of the basic experiences of China's contemporary aesthetic development is to adhere to Marxism as the guide and closely integrate the basic principles of Marxist aesthetics with China's reality. This is a major feature of contemporary Chinese aesthetics, and it is also a major advantage. Although aesthetic researchers in China hold different academic views, most of them try to use Marxist views to explain aesthetic problems according to their own understanding, and I think this should be allowed. Marxism does not provide people with ready-made answers or dogmas to aesthetic problems, but scientific research methods, so in the field of aesthetics, Marxism does not and cannot exhaust the truth, but only provides scientific means for exploring and understanding the truth, and opens up the road to the truth. In order to truly establish a Marxist aesthetics, it is absolutely impossible to complete the task by simply quoting and extracting sentences from classic works; it requires a lot of hard creative labor, in-depth theoretical discussions, and earnestly and seriously studying history and reality. We must bear in mind Engels' admonition: "Even the development of materialist views on a single historical example is a scientific work that requires years of sober study, because it is clear that empty words here will not help, and such a task can only be solved by relying on a large number of critically examined and fully grasped historical materials." The task of establishing Marxist aesthetics is heavy and long, this is a little impression after reading "Oral History", and I hope to share it with comrades. Ru Xin, President of the All-China Association of Aesthetics and former Vice President of the Chinese Academy of Social Sciences, March 2010（AI翻译）