Stage art creation is the first visual symbol system presented in a play. Stage art design that matches the style of the play can effectively enhance the artistic appeal of the work. How to creatively transform traditional aesthetic images and construct appropriate modeling spaces for today's stage has become the core proposition of contemporary stage art development. The path to innovation in stage art should begin with the return of traditional essence - both a retrospective of the essence of Chinese culture and a return to the essence of traditional Chinese opera art. Chinese stage art carries the deepest cultural genes of the nation and embodies unique spiritual symbols, which is the core element that triggers aesthetic resonance among the audience. Therefore, research on stage art should be based on deep cultivation of tradition, and construct modern aesthetic expression on the basis of systematically sorting out traditional artistic vocabulary. Especially as an important component of stage art, costume design is the most direct creative method for actors to shape their roles on stage. Fashion designers shoulder the important mission of building a visual field and improving the image system for performances. Formal traditional inheritance can easily fall into conceptual traps, and for the design of opera costumes, it is more important to find the core of tradition. The Puxian opera "Walking on the Umbrella" is an award-winning play of the Wenhua Award. When designing the costume design for the play, I insisted on grasping the core of traditional costume design, and only increased the refinement, layering, and sense of the times of the stage through techniques such as deconstructing traditional styles, adding and removing layers of traditional colors, and enriching elements in traditional combinations, in order to highlight the new era expression of traditional aesthetics in "Walking on the Umbrella". To highlight the program features of "hands, steps, and shoulders" in Puxian opera, I specially embroidered the sleeves with double layers of embroidery and accurately adjusted their size, color, and fabric texture to help actors achieve the unique performance characteristics of Puxian opera, and also to present traditional skills in a new way that conforms to contemporary aesthetics. Innovation is the continuous endogenous driving force of Chinese civilization. We adhere to the cultural core and innovate by opening up new ways. For current stage design creation, some people say that innovation requires thorough originality and absolute leadership, but I think this needs to be discussed. Any successful innovation is the result of respecting artistic laws and gradually optimizing. Especially on the stage of traditional Chinese opera, innovation cannot be wild and arbitrary. It must be based on the excellent traditional Chinese culture and adhere to the principles of integrity and innovation. In the play "Zheng Banqiao" performed at the 18th China Drama Festival, based on the characteristics of the play's theme and Zheng Banqiao's legendary life, I incorporated traditional costumes such as cloaks, pleats, skirts, and jackets into the costume design. The water sleeves and long robes of the costume were cleverly combined, rolled up to form layered folds, and hung down to highlight the charm of opera, effectively helping actors shape their characters. In addition, taking Zheng Banqiao's "I never paint bamboo, I paint myself" as the creative inspiration, seven "bamboo and stone paintings" from different periods were selected and embroidered on clothing, which not only highlights the personality of the characters, but also highlights the beauty of tradition, humanity, history, and art. In the era of all media, utilizing advanced technology to quickly access image materials has become an essential task in our creative process. But this may also lead some creators to develop a habit of shallow exploration and not seeking deep understanding. In the era of self media, many of the texts and images we find online have been dismembered or even "modified" by other categories of creators. If we rely solely on these materials, our stage design creation will lack a foundation and even fail to stand up to artistic rules. Therefore, when time permits, one should "bend down, calm down, take root, and take steady steps". While enjoying the benefits of the "fast and convenient" era, one should also put in a lot of "stupid effort" to explore artistic images from a large number of original historical images and literature materials. Through a series of work such as selection, integration, and creation, a rich visual image should be constructed to achieve "innovation" and "inheritance" of stage art in the new era. When creating the Yue opera "Maple Leaves Like Flowers", I consulted many historical materials related to the period and theme. Among the numerous materials, I selected two photos of martyr Zhu Feng: one wearing a dark green cheongsam and the other wearing a white cheongsam. These two cheongsams fully showcase the two sides of Zhu Feng's body, "ice and fire", ensuring the historical significance of the theme and highlighting the freehand style of the drama. This drama won the Wenhua Award at the 17th China Art Festival. Upholding integrity and innovation, inheriting and developing, are not contradictory, but complementary. Being stagnant and stagnant, Chen Chen Xiangyin cannot be considered as inheritance. Cutting off the bloodline and creating things out of thin air cannot be called innovation. Adhering to tradition is the key to not losing oneself, and innovation is the key to grasping the times. By grasping the relationship between inheritance and innovation, and following the creative principle of "following one's own will without exceeding the norm, moving forward without changing form", drama creation can be revitalized in response to the challenges of the times. When creating the Kunqu opera "Orphan of Zhao", I closely adhered to the aesthetic essence of Kunqu's "freehand brushwork", conveying powerful spirit with the simplest colors, highlighting full power with the simplest styles, and presenting fashionable style with the simplest elements, completing the visual image expression of "opera costumes as the soul, drama costumes as the bone, and opera costumes as the form". For example, the helmets in the drama mostly adopt traditional styles, and only change the color to bronze based on the story background, enhancing the historical weight of the theme. In addition, from a professional perspective, the costume design and styling design on the opera stage should be organically unified, as they follow the same aesthetic principles and are already an aesthetic whole. Although the division of labor in society is becoming increasingly refined, the two should not be further separated. Contemporary theater professionals should be able to balance both in their creations and collaborate in the execution process, but their creative concepts must remain consistent. Stage art creation is full of vitality, openness, inclusiveness, and innovation. To achieve good development in contemporary stage art, it must keep pace with the times, improve quality and upgrade, and complete modern transformation at a higher level. From the perspective of artistic ontology, it is necessary to follow the aesthetics and laws of artistic ontology, integrate the spirit of the times, modern concepts, and contemporary stage performance methods, make the works adapt to modern society, meet the aesthetic needs of the audience, and promote the new development of drama in the new era through core inheritance and form innovation. (New Society)