The Chinese civilization has a long and rich history, forming its own outstanding characteristics, and also giving birth to a unique aesthetic consciousness or ideological tradition of the Chinese nation that is different from other ethnic groups in the world, namely the Chinese aesthetic tradition (also known as the Chinese classical aesthetic tradition). However, this tradition was reconstructed in the late Qing Dynasty and early Republic of China with the help of the mirror effect of the Western aesthetic discipline system. This means that ancient China did not have a Western aesthetic discipline system, but after all, a unique aesthetic ideological system comparable to Western aesthetics was born. Once this aesthetic ideology is self evident in the mirror of the West, it will increasingly highlight its unique value in the cross-cultural dialogue with the dominant Western aesthetic discipline system, especially in the construction process of China's own modern aesthetics. At the same time, it should also be noted that it is in this process that the reconstruction of the traditional Chinese aesthetics and its position and role in the development of modern Chinese aesthetics have gone through a tortuous process. This process is closely linked to the historical process of combining the basic principles of Marxism with China's specific realities and the excellent traditional culture of China, that is, the combination of the two in modern China. A brief review of this process can be divided into five time periods for understanding. From the late Qing Dynasty to the early Republic of China to the May Fourth period, the main task of modern Chinese aesthetics was to introduce the discipline system of Western aesthetics to create modern Chinese aesthetics, as well as to reconstruct the traditional Chinese classical aesthetics. With the introduction of Western aesthetic disciplines from Japan and Europe, modern aesthetic and literary trends such as "aesthetics", "three world revolution", "literary revolution", "art revolution", and "replacing religion with aesthetic education" have emerged one after another. At the same time, Wang Guowei, Zhang Taiyan, Xiong Shili, Liang Shuming, and others also used Western philosophy and aesthetics to rediscover the unique value of Chinese classical aesthetic traditions. For example, Wang Guowei utilized the aesthetic ideas of Kant, Hegel, Schiller, and Schopenhauer to discover the modern value of the concepts of "artistic conception" and "realm" in ancient China, and proposed new ideas such as "antiquity". The 1920s to 1940s followed closely, and the characteristic of this period was that it was present and ancient. Jinxian refers to the manifestation level of Chinese modern aesthetics in creation and construction; Gu Yin refers to the hidden level of Chinese classical aesthetic tradition. During this period, modern aesthetics developed into "prominent studies", while the traditional reconstruction of classical aesthetics is still in an implicit position. Comrade Mao Zedong formally proposed in 1938 that "Marxism must be combined with the specific characteristics of our country and achieved through certain ethnic forms", and called for the development of a "fresh and lively Chinese style and atmosphere that is popular among the Chinese people.". This puts forward the significant proposition of combining the basic principles of Marxism with China's specific reality, namely the sinicization of Marxism, from the perspective of the "first combination", and points out the correct path of sinicization for the aesthetic discipline system and related literary theories from the West. Comrade Mao Zedong's speech at the Yan'an Forum on Literature and Art further established the basic principles of artistic beauty originating from life beauty but higher than life beauty, typification, and so on. During this period, the construction of modern Chinese aesthetics achieved outstanding results: Zhu Guangqian's "On Beauty" and "Psychology of Literature and Art"