再论用实事求是的态度去挽救我们的审美观

林兆梁  2025-11-8

一切美的东西都是来至于生活，来至于劳动。

审美是人的天性与必需，艺术就是审美过程。

赤、橙、黄、绿、青、蓝、紫、妃红、仓青、坨颜、月白、

十样锦，远山如黛，青梅煮酒，桥下春波，青绿山水美如画

这里，生活可以被赋予一种颜色，一种思想，一种境界，清雅的生活方式演绎对生命的尊重和感悟。

就象一个在广阔田野里劳动的人们，尽管她满身汗水和泥巴，但是，在她起身用手臂擦掉脸额上汗水的瞬间，回眸一笑的样子，是十分美的，因为她是发自内心的喜悅，是一种丰收的希望，胜利的喜悦之美。

毛泽东主席在《在延安文艺座谈会上的讲话》中深刻指出：“马克思主义的一个基本观点，就是存在决定意识，就是阶级斗争和民族斗争的客观现实决定我们的思想感情” 强调文艺工作必须立足客观事实、把握现实本质，以服务人民大众为根本方向。

这一重要论述不仅为革命文艺发展确立了思想准则，更为当代审美实践提供了根本遵循——审美作为对客观存在的精神反映，脱离事实根基便会陷入主观臆断的误区，背离人民立场则会丧失其本质价值。在五千年中华文明的长河中，古代艺术收藏始终承载着传承文化基因、彰显审美精神的重要使命，然而当下这一领域却深陷真假难辨、话语权失衡、美丑颠倒、传承断裂的多重困境。从标价4800万元的宋代官窑贯耳瓶被检出现代工业釉料痕迹，到“鉴宝黄牛”与专家勾结炮制虚假鉴定证书，从高仿作坊用气相沉积技术复刻元代青花钴料，到拍卖行以“保真费”为名行免责之实，这一系列乱象的核心症结，正是实事求是精神的缺失与人民立场的偏离。审美作为文明的精神镜像，一旦沦为功利主义的附庸，便会侵蚀民族文化根基。

站在历史高度，回溯孔孟美学的思想源头，融合北大杨辛教授的现代美学智慧，更以毛泽东同志的美学思想为根本指引，以实事求是为准则重构审美体系，不仅是净化收藏市场的当务之急，更是守护民族精神家园、践行文艺为人民服务宗旨的必然选择。

一、实事求是：中华美学的本质内核与当代缺失

实事求是作为中华文化的精神特质，早已深深融入传统美学的肌理之中，更与毛泽东同志强调的“存在决定意识”美学观高度契合。从儒家“知之为知之，不知为不知”的治学态度，到中医“望闻问切”的诊断准则，从经学家训诂考据的严谨方法，到工匠“如切如磋，如琢如磨”的造物精神，实事求是始终是审美认知与创造的根本遵循。传统艺术收藏更是将“辨伪存真”作为核心要义，所谓“观其形、辨其质、考其文、证其史”，正是通过对器物材质、工艺、纹饰、流传脉络，氧化面相的全面考证，实现对审美价值的精准判断——这种以客观存在为依据的审美传统，与毛泽东同志倡导的“从客观实际出发”的认知方法一脉相承，确保了中华美学精神在代代相传中不失其本。

然而在当代收藏市场中，实事求是精神正遭遇前所未有的消解，与毛泽东同志警示的“脱离现实、主观臆断”的文艺弊病形成鲜明呼应。

伪作产业链的精密化运作彻底颠覆了传统鉴定逻辑，景德镇高仿作坊采用气相沉积技术模拟苏麻离青特征，洛阳青铜器作坊通过电解腐蚀法复刻千年铜锈，其分子结构与真品误差仅为一眼之差，使得“火气未消”“包浆不润”等传统经验判断失效。更令人忧虑的是，利益捆绑导致鉴定体系公信力崩塌。全国具备完整文物鉴定资质的专家不足几百人，却要为每年超几百万件流通藏品提供背书，部分专家日均鉴定百件藏品，每件审视时间不足3分钟，这种快餐式鉴定完全背离了“深入实际、把握本质”的实事求是原则。更有甚者，知名专家团队按藏品估值收取高额的鉴定费，同时入股拍卖公司，导致某明代画家作品的鉴定证书三年间出现7种版本，将学术话语权异化为逐利工具。

在真假之辩的背后，是美丑标准的彻底混乱，本质上是背离了毛泽东同志“文艺为人民大众服务”的核心立场。

当资本可以操控鉴定结论，当技术可以伪造历史痕迹，审美便失去了客观依据与人民立场。部分收藏者将价格高低等同于审美价值，把稀有性误解为艺术性，使得粗制滥造的伪作被捧上神坛，而蕴含真正美学精神、承载人民智慧的真品却被边缘化。这种是非不分的审美乱象，不仅扭曲了艺术市场的价值导向，更让古代艺术脱离了人民大众的审美需求，沦为少数人的投机工具。正如毛泽东同志批评的“脱离群众、生活空虚”的文艺弊病，当下收藏市场的审美异化，正是因为脱离了文物的历史事实与人民的审美本质，导致审美判断沦为主观臆断与利益博弈的产物。

二、孔孟美学：实事求是在传统审美的思想奠基

（一）“美善合一”：审美判断的事实根基与价值立场

孔孟美学的核心命题“美善合一” 为审美活动确立了以事实为依据、以善为价值导向的双重准则，与毛泽东同志“客观现实决定思想感情”“文艺服务人民”的思想形成跨越时空的呼应。

孔子在评价《韶》乐与《武》乐时提出：“《韶》尽美矣，又尽善也 《武》尽美矣，未尽善也”，清晰界定了“美”（形式外观）与“善”（道德内涵、社会价值）的辩证关系。在孔子看来，真正的审美价值必须建立在内容与形式的统一之上，单纯的形式之美若缺乏道德善的支撑，便会沦为“郑声淫”式的感官刺激，难以构成真正的审美体验。这种审美理念背后，蕴含着深刻的实事求是精神——“善”作为客观的道德事实与社会价值，为审美判断提供了不可动摇的根基，避免了审美评价的主观随意性，这与毛泽东同志强调的“文艺要反映人民群众的历史活动”具有内在一致性。

孟子进一步发展了这一思想，提出“充实之谓美”，将审美价值与人格修养、社会现实紧密相连。在孟子看来，美的本质在于内在德性的充实与外在表现的一致，正如“仁义礼智根于心，其生色也睟然，见于面，盎于背，施于四体”，这种美不是虚伪的修饰，而是内在品德的自然流露，是对客观人格事实的真实反映。延伸至艺术收藏领域，古代器物的审美价值不仅在于工艺形式的精巧，更在于其承载的历史事实、文化内涵与人民智慧——这与毛泽东同志“人民生活是文艺的唯一源泉”的论断高度契合。一件青铜器的纹饰不仅是装饰之美，更是“礼治”社会等级秩序与人民造物智慧的客观反映，一幅古画的笔墨不仅是技法之美，更是文人精神品格与时代民生状况的真实写照。孔孟“美善合一”的美学思想，本质上要求审美活动必须以历史事实、社会价值为依据，以服务社会、滋养人心为目标，这与实事求是精神及毛泽东美学的人民立场一脉相承。

（二）“知行合一” 审美认知的实践准则与现实路径

孔孟美学强调“知行合一”，将实践验证作为审美认知的关键环节，这正是实事求是精神的具体体现，也与毛泽东同志“实践是认识的来源”的认识论高度契合。孔子主张“学而时习之”，这里的“习”不仅是知识的温习，更是通过实践验证知识的真实性。在艺术审美领域，这种实践精神表现为对器物的实证研究——通过触摸器物的材质、观察工艺的细节、考证文献的记载，形成对审美对象的全面认知，这与毛泽东同志倡导的“深入实际、调查研究”的认知方法异曲同工。孔子提出“绘事后素”，强调绘画之美必须建立在素白底子的基础之上，暗喻审美创造必须尊重客观材质的本质特征，不可违背事实规律，这正是对“存在决定意识”的传统诠释。

孟子“知言养气”的思想，进一步将审美认知与实践体验相结合。所谓“我知言，我善养吾浩然之气”，强调通过广泛的实践积累与道德修养，提升审美判断力的敏锐性与可靠性。传统收藏界推崇“上手即知”的鉴定功夫，正是这种实践精神的传承——鉴定家通过数十年触摸不同时代、不同窑口的器物，积累对材质、工艺的感性认知，这种基于实践的审美判断，本质上是对实事求是原则的坚守，也印证了毛泽东同志“只有实践才是检验真理的唯一标准”的科学论断。反观当下收藏市场的乱象，恰恰是背离了“知行合一”的实践准则与毛泽东同志的实践美学观，部分收藏者仅凭图片、证书便下判断，部分专家脱离实物空谈理论，导致审美认知与事实真相严重脱节，正如毛泽东同志批评的“闭门造车”式的文艺创作，终究会失去生命力。

（三）“中庸之道”：审美尺度的客观标准与和谐追求

孔孟提出的“中庸之道”，为审美活动确立了客观适度的判断标准，避免了美丑判断的极端化与主观化，与毛泽东同志“文艺要源于生活又高于生活”的辩证思想相呼应。

孔子主张“过犹不及”，强调审美应当符合客观规律与社会规范，既反对粗陋无文的极端，也反对过度雕琢的奢靡。《论语》记载孔子“恶紫之夺朱也，恶郑声之乱雅乐也”，正是因为紫色取代红色、郑声扰乱雅乐违背了审美秩序的客观性，这种秩序不是人为规定的，而是基于历史传统与社会共识形成的客观事实，这与毛泽东同志强调的“文艺要符合人民群众的审美习惯”具有内在统一性。

在古代艺术收藏中，“中庸”之美体现为对器物“气韵生动”的追求——既要求工艺技法的精湛，又反对刻意雕琢 既重视历史价值的厚重，又不忽视艺术表现的灵动，这与毛泽东同志倡导的“革命的政治内容和尽可能完美的艺术形式的统一”异曲同工。以宋代瓷器为例，其审美特征表现为“清润淡雅、简洁含蓄”，既没有唐代三彩的浓艳繁复，也没有元代青花的富丽堂皇，而是在材质、造型、纹饰的平衡中达到“恰到好处”的审美境界。这种审美尺度的形成，正是基于对陶瓷工艺本质、时代精神与人民审美需求的客观认知，是实事求是精神在审美创造中的生动体现。而当下收藏市场中，部分藏品追求夸张的造型、艳丽的色彩，以怪异为创新、以繁复为珍贵，恰恰违背了“中庸之道”的客观审美标准与毛泽东同志“文艺要为人民大众所喜闻乐见”的原则，沦为低俗化的感官刺激，脱离了人民群众的真实审美需求。

三、杨辛美学思想与毛泽东美学的内在契合：实事求是在现代审美的创新发展

作为北大美学学科的奠基人，杨辛教授的美学思想立足传统、面向现代，既传承了中华美学“形神兼备”“情景交融”的优秀传统，又深度契合毛泽东同志的美学思想，将实事求是精神与现代审美实践相结合，为破解当代收藏市场的审美困境提供了重要指引。杨辛教授深耕美学研究数十年，形成了以“美在和谐”为核心、以实践为路径、以美育为目标的美学体系，其思想与毛泽东同志“人民生活是文艺的唯一源泉”“文艺服务人民”的核心观点一脉相承，本质上是实事求是精神在现代美学领域的创新发展。

（一）“美在和谐”与“人民为本”：审美价值的客观维度与立场坚守

杨辛教授提出“美在和谐”的核心观点，强调美是主体与客体、形式与内容、感性与理性的辩证统一，这种统一必须建立在客观事实的基础之上，与毛泽东同志“文艺要反映客观现实”“为人民大众服务”的思想高度契合。在杨辛看来，审美和谐不是主观臆想的产物，而是对客观事物本质规律的反映——自然之美源于天地万物的运行秩序，艺术之美源于对现实生活的真实再现与升华，社会之美源于人与人、人与社会的协调发展，这与毛泽东同志“人类的社会生活虽是文学艺术的唯一源泉”的论断形成深刻呼应。

将“美在和谐”思想与毛泽东美学观结合应用于古代艺术收藏，便要求我们以客观事实为依据、以人民需求为导向，全面把握藏品的审美要素。一件古代器物的和谐之美，首先体现为材质与工艺的和谐——青铜的坚韧与铸造工艺的契合、陶瓷的温润与施釉技法的统一，都是基于材料特性的客观创造，其次表现为形式与内容的和谐——纹饰图案与器物功能的适配、造型风格与时代精神的呼应，都是对历史事实的真实反映，最后体现为审美与人民的和谐——器物的审美特征符合特定时代人民的生活需求与审美习惯，是人民智慧的结晶。杨辛教授强调：“审美判断必须尊重客观规律，脱离事实的‘和谐’只能是虚假的美感”，这一观点与毛泽东同志批评的“脱离群众、脱离实际”的文艺弊病形成鲜明对照，直指当代收藏市场的症结所在——部分收藏者忽视藏品的客观属性与人民的审美本质，盲目追求所谓的“独特性”，导致美丑颠倒。

（二）“实践美学”与“知行统一”：审美认知的科学方法与现实路径

杨辛教授继承并发展了马克思主义实践美学思想，强调审美活动是一种实践活动，审美认知必须通过实践获得并接受实践的检验，这与毛泽东同志“实践是认识的基础”“知行统一”的美学观高度一致。在杨辛看来，审美不是被动的接受，而是主动的认知过程，只有通过对审美对象的实地考察、细致分析、反复验证，才能形成正确的审美判断，这与毛泽东同志倡导的“深入生活、调查研究”的文艺方法一脉相承。

杨辛教授在《美学原理新编》中明确区分了“美的形式”与“形式美”，指出美的形式是“确定的、个别的、特定的、具体的”，与其内容不可分离，而形式美则是规范化的审美形式。这一区分与毛泽东同志“文艺要源于生活又高于生活”的辩证思想相呼应，提醒我们古代艺术收藏中的审美判断，不能脱离藏品的具体历史语境、文化内涵与人民生活实际，单纯以形式美为标准下判断。例如，元代青花的钴料发色、明清家具的榫卯结构，都必须结合特定时代的工艺水平、文化背景与人民生活需求进行分析，通过实物比对、文献考证、科技检测等多种实践方法，才能确定其真伪与价值——这正是毛泽东同志“实事求是”思想在收藏实践中的具体应用。上海自贸区试点的“双轨制鉴定”模式，要求拍品同时出具眼学鉴定报告和五项科技检测数据，实施半年后退货率的下降，这正是实践美学思想与毛泽东实事求是精神在市场治理中的成功应用，印证了“实践是检验真理的唯一标准”的科学论断。

（三）“美育育人”与“精神引领”：审美实践的价值归宿与使命担当

杨辛教授始终强调美育的育人功能，认为审美不仅是对美的感知与判断，更是人格完善与精神提升的过程，这与毛泽东同志“文艺要团结人民、教育人民”的使命要求高度契合。在杨辛看来，美育的核心在于引导人们树立正确的审美价值观，培养以事实为依据的审美判断力，抵御功利主义、形式主义的侵蚀，而毛泽东同志更是将文艺视为“团结人民、教育人民、打击敌人、消灭敌人的有力武器”，强调文艺的思想引领与精神塑造功能。二者共同指明了美育的价值归宿——通过审美实践提升全民素养，凝聚民族精神。

杨辛教授的美育思想与毛泽东同志的文艺育人观，都继承了孔孟“以美育人”的传统。孔子提出“兴于诗，立于礼，成于乐”，将美育视为培养君子人格的重要途径，毛泽东同志强调文艺要“使人民群众团结起来，斗争下去” 杨辛则将美育与现代社会的人格塑造相结合，强调“通过审美实践，培养人们尊重事实、追求真理的精神品质”。

在古代艺术收藏中，美育的价值不仅在于教会人们辨别真伪、欣赏美丑，更在于通过与古代器物的对话，理解历史事实、传承文化精神、体悟人民智慧——这正是毛泽东同志“文艺要反映人民的历史活动”思想的生动体现。一件仰韶文化的彩陶，不仅让我们感受到原始艺术的质朴之美，更让我们认识到先民的生活智慧与创造力，一幅王羲之的书法，不仅让我们领略到笔墨的灵动之美，更让我们体悟到魏晋文人的精神风骨与人民对美好生活的向往。这种基于事实认知的审美体验，能够帮助人们树立正确的收藏观，摆脱对价格的盲目崇拜，回归审美本真与人民立场。

四、以实事求是重构审美体系：市场净化与精神回归的双重路径

挽救扭曲的审美观，净化古代艺术收藏市场，需要以毛泽东同志的美学思想为根本指引，融合孔孟美学与杨辛教授的现代美学智慧，将实事求是作为核心准则，从认知重构、制度保障、美育普及三个维度构建系统性解决方案，实现市场秩序与精神价值的双重回归，让古代艺术真正服务于人民大众、传承民族文化。

（一）重构认知：确立事实导向与人民立场的审美判断标准

审美认知的重构是挽救审美观的根本前提，必须回归毛泽东同志“客观现实决定思想感情”“文艺为人民大众服务”的核心思想，坚守孔孟“美善合一”与杨辛“美在和谐”的审美理念，确立以事实为核心、以人民为立场的判断标准。

首先，要坚持“真伪为基”的认知原则，将文物鉴定建立在材质分析、氧化面相，工艺考证、文献印证、科技检测的多重事实依据之上，正如毛泽东同志强调的“一切从实际出发”。

收藏者应摒弃“捡漏”心理与投机心态，通过系统学习文物知识、参与实践考察，提升对器物本质特征的认知能力，不盲从专家意见，不迷信鉴定证书，以“眼见为实、多证互勘”的态度对待每一件藏品。

其次，要坚守“美善统一、人民为本”的价值尺度，既要关注器物的形式美感，更要重视其历史价值、文化内涵与人民智慧。正如毛泽东同志推崇文艺要“歌颂人民的劳动和斗争”，收藏审美也应追求形式美与内容善的统一——一件器物的审美价值，不仅体现在工艺的精湛、纹饰的精美，更体现在其对历史事实的见证、对人民创造力的反映、对文化精神的传承。我们应警惕单纯追求形式怪异、材质稀有而忽视文化内涵与人民审美需求的倾向，让收藏回归“以美载道、以美育人”的传统，使古代艺术真正成为传承文明、滋养人民心灵的精神载体，践行毛泽东同志“文艺服务人民”的根本宗旨。

最后，要坚持“知行合一”的实践方法，将书本知识与实践体验相结合。借鉴毛泽东同志“深入生活、调查研究”的工作方法与杨辛教授的实践美学思想，收藏者应多走进博物馆、美术馆，大自然，通过触摸实物、观察细节、聆听讲解，积累感性认知，多参与学术交流、藏品研讨，与同行分享经验、相互印证，主动学习科技鉴定知识，了解X射线荧光光谱、热释光测年等科学方法，以现代科技辅助事实判断。只有通过理论与实践的反复印证，才能形成客观准确的审美认知，抵御虚假信息的误导，真正做到毛泽东同志倡导的“实事求是”。

（二）完善制度：构建事实为本与人民至上的市场治理体系

市场秩序的规范是实事求是审美原则得以践行的制度保障，需要以毛泽东同志“为人民服务”的根本宗旨为导向，建立“科技赋能+制度约束+信用重构”的综合治理体系，让市场运行符合事实规律、满足人民需求。首先，应推广“双轨制鉴定”模式，将科技检测作为文物鉴定的法定环节，要求所有流通藏品必须同时出具眼学鉴定报告与多维度科技检测数据，明确科技检测指标的合格标准，让数据说话，减少人为判断的主观性与利益干扰，这正是毛泽东同志“实事求是”思想在制度设计中的具体体现。针对当前鉴定专家资源稀缺的问题，可建立全国统一的文物鉴定专家库，实行“随机抽取、回避制度、责任终身制”，杜绝专家与拍卖行、藏家的利益捆绑，确保鉴定结果的客观性与公正性。

其次，要健全法律法规，强化对违法违规行为的惩戒力度，维护人民群众的合法权益。修改完善《拍卖法》中关于拍品真实性的条款，明确拍卖行的保真责任，取消“不保证拍品真实性”的不合理免责条款，对明知是赝品仍进行拍卖、虚假宣传的行为予以重罚——这与毛泽东同志“打击敌人、保护人民”的斗争思想相呼应，只不过此处的“敌人”是破坏市场秩序、损害人民利益的违法者。严厉打击“鉴宝黄牛”、虚假鉴定、伪造文物等违法犯罪活动，摧毁伪作产业链，净化市场环境。同时，建立文物流通溯源体系，运用区块链技术为每件藏品建立不可篡改的“数字身份档案”，流传脉络、鉴定记录等关键事实，让藏品的“前世今生”有据可查，保障人民群众的知情权与选择权。

最后，要重构行业信用体系，建立藏家、拍卖行、鉴定机构的信用评级制度，将失信行为记入信用档案，实行市场准入限制。鼓励行业协会发挥自律作用，制定统一的行业标准与职业道德规范，引导从业者坚守实事求是原则与为人民服务的宗旨，摒弃短期利益，追求长期发展。通过制度约束与信用激励，让“求真务实、诚信经营”成为收藏行业的主流价值观，让坚守事实、服务人民的从业者获得市场认可，让弄虚作假者无处遁形，构建一个符合人民利益的健康市场生态。

（三）普及美育：培育实事求是的全民审美素养与人民情怀

全民审美素养的提升是审美观回归的社会基础，需要以毛泽东同志“文艺教育人民”的使命要求、孔孟美育传统与杨辛美育思想为指导，构建多层次、广覆盖的美育体系，让实事求是成为全民审美共识，让人民情怀成为审美自觉。首先，应将古代艺术审美教育纳入国民教育体系，从基础教育阶段开设文物鉴赏、传统美学课程，通过实物观察、案例分析、实践体验等方式，让青少年了解中华传统艺术的基本知识，掌握实事求是的审美方法，培养对传统文化的认同感与自豪感，践行毛泽东同志“培养革命接班人”的教育思想。

其次，要加强公共文化服务，博物馆、美术馆应推出更多针对普通公众的古代艺术展览与教育活动，践行毛泽东同志“普及与提高相结合”的文艺方针，通过“专家讲解+互动体验+线上直播”等形式，普及文物鉴定知识与审美常识。利用数字媒介技术，将馆藏珍品进行数字化呈现，开发线上虚拟展厅、文物鉴赏小程序，让公众足不出户就能近距离观察文物细节，学习辨别真伪的方法。正如《诗忆东坡》运用AI技术让文人风骨可视化，我们也可以通过数字技术让传统审美知识通俗化、趣味化，提升全民参与度，让古代艺术真正走进人民群众的生活。

最后，要发挥媒体的引导作用，抵制“猎奇化”“功利化”的收藏宣传，多推出传播正确收藏观、美学观的节目与文章，践行毛泽东同志“文艺要团结人民、教育人民”的使命。邀请专家学者、资深藏家分享实事求是收藏的经验案例，揭露市场乱象的运作手法，引导公众树立理性收藏、文化收藏的观念，培养“尊重历史、崇尚真实、热爱人民”的审美情怀。通过多渠道、多形式的美育普及，让实事求是成为全民审美共识，让尊重历史、崇尚真实、追求真美成为社会风尚，从根本上铲除虚假审美滋生的土壤，让中华美学精神真正扎根于人民群众之中。

五、结语：以实事求是守护文明的审美基因与人民立场

古代艺术收藏市场的审美乱象，本质上是文明传承中精神内核的迷失与人民立场的偏离。当实事求是精神被功利主义侵蚀，当美丑判断脱离事实根基与人民需求，收藏便不再是文化传承的载体，而沦为利益交换的工具。毛泽东同志的美学思想以“实事求是”为认知核心、以“人民为本”为价值立场，为审美实践确立了根本遵循，孔孟美学以“美善合一”“知行合一”为核心，确立了以事实为依据的审美传统，杨辛教授以“美在和谐”“实践美学”为核心，赋予了传统美学现代科学内涵。三者共同指向一个核心真理：审美必须以事实为根基、以人民为立场，脱离事实的美必然是虚假的、空洞的，脱离人民的美必然是无源的、短命的。

挽救我们的审美观，就是要回归毛泽东同志倡导的实事求是根本准则与为人民服务根本宗旨，在收藏实践中坚守真伪之辨的事实底线，秉持美善统一的价值尺度，践行知行合一的实践方法，就是要通过认知重构、制度完善、美育普及，让古代艺术收藏回归文化传承的本质与人民服务的初心，让每一件文物都能诉说真实的历史故事，让每一次审美都能滋养纯净的精神世界，让古代艺术真正成为连接历史与现实、滋养人民心灵的精神纽带。

站在新的历史起点，我们既要守护传统美学的精神内核，又要吸收现代美学的科学方法，更要坚守毛泽东同志的美学思想与人民立场，以实事求是为桥梁，连接传统与现代、学术与市场、个人与社会。唯有如此，才能净化古代艺术收藏市场的生态，重构健康的审美体系，让中华美学精神在新时代焕发生机与活力，让五千年文明的审美基因得以永续传承，为民族复兴提供强大的精神动力，真正实现毛泽东同志所期望的“文艺成为团结人民、教育人民、鼓舞人民前进的强大力量”。

                                    《以下为英文版  The following is the English version.》

《英文翻译如有出入以中文为准

In case of any discrepancies in the English translation, the Chinese version shall prevail.  》

Reconsider the use of a realistic attitude to save our aesthetic view

                        Lin Zhaoliang

                          2025-11-8

All beautiful things come from life and from labor.

Aesthetic is the nature and necessity of human beings, and art is the aesthetic process.

Red, orange, yellow, green, cyan, blue, purple, crimson, sky blue, dark blue, moon white,

Ten kinds of brocade, distant mountains like dark blue, green plums and wine, spring waves under the bridge, green and blue mountains and rivers as beautiful as a painting

Here, life can be endowed with a color, a thought, a state, and a refined way of life demonstrates the respect and understanding of life.

Just like a person working in a vast field, although she is covered with sweat and mud, but in the instant that she gets up and wipes the sweat on her forehead with her arms, the look of her smiling back is very beautiful, because it is the joy from the heart, a hope of harvest, the beauty of victory.

In his speech at the Yanan Forum on Literature and Art, Chairman Mao Zedong profoundly stated: "A fundamental tenet of Marxism is that existence determines consciousness—that the objective realities of class struggle and national struggle shape our thoughts and emotions." He stressed that literary and artistic endeavors must be grounded in objective facts, grasp the essence of reality, and serve the people as their fundamental purpose.

This pivotal discourse not only establishes ideological guidelines for revolutionary cultural development, but also provides fundamental principles for contemporary aesthetic practices. As a spiritual reflection of objective reality, aesthetics risks becoming subjective speculation when divorced from factual foundations, and loses its essential value when deviating from the peoples perspective. Throughout Chinas five-thousand-year civilization, ancient art collections have always carried the crucial mission of preserving cultural heritage and showcasing aesthetic spirit. Yet today, this field faces multiple crises: authenticity verification challenges, power imbalances, distorted beauty standards, and broken cultural continuity. From the 48-million-yuan Song Dynasty imperial kiln bottle being found with modern industrial glaze traces, to "antique appraisal fraudsters" colluding with experts to forge fake certificates, to high-end imitation workshops replicating Yuan Dynasty cobalt blue-and-white porcelain using vapor deposition technology, and auction houses exploiting "authenticity guarantees" as a pretext for evasion—these chaotic phenomena all stem from the absence of a fact-based approach and the abandonment of people-oriented values. As the spiritual mirror of civilization, aesthetics risks eroding national cultural roots when reduced to a tool of utilitarianism.

From a historical perspective, tracing the intellectual origins of Confucian-Mencian aesthetics while integrating Professor Yang Xins modern aesthetic wisdom from Peking University, and guided by Mao Zedongs aesthetic philosophy with a pragmatic approach, reconstructing the aesthetic system is not only an urgent task to purify the art market, but also an essential choice to safeguard the spiritual homeland of the nation and fulfill the mission of serving the people through cultural and artistic endeavors.

I. Being practical: The essence of Chinese aesthetics and its contemporary absence

The principle of seeking truth from facts, as a defining trait of Chinese culture, has been deeply embedded in traditional aesthetics and aligns perfectly with Comrade Mao Zedongs philosophy that "existence determines consciousness." From Confucian scholars approach of "knowing what one knows and acknowledging what one doesnt," to TCMs diagnostic method of "observation, auscultation, inquiry, and pulse-taking," from classical scholars rigorous textual criticism to craftsmens meticulous craftsmanship— "like carving and polishing, like shaping and grinding" —seeking truth from facts remains the fundamental principle guiding aesthetic cognition and creation. Traditional art collection particularly emphasizes "distinguishing authenticity from forgeries," as expressed in the maxim: "examine its form, discern its substance, verify its text, and authenticate its history." This requires comprehensive analysis of materials, craftsmanship, patterns, provenance, and surface oxidation to achieve precise aesthetic evaluation. This tradition of objective aesthetic judgment, consistent with Comrade Mao Zedongs advocacy of "starting from objective reality," ensures the enduring vitality of Chinese aesthetic spirit across generations.

However, in the contemporary collection market, the spirit of seeking truth from facts is facing unprecedented dissolution, which echoes the literary and artistic defects of "detaching from reality and subjective assumptions" warned by Comrade MAO Zedong.

The sophisticated operations of the counterfeit production chain have completely overturned traditional authentication logic. Jingdezhen workshops producing high-quality replicas employ vapor deposition technology to replicate the distinctive Su Ma Li blue pigment, while Luoyang bronze artifact workshops use electrochemical corrosion techniques to recreate ancient patina. The molecular structures of these imitations differ from authentic pieces by mere visual discernment, rendering traditional empirical judgments like "unextinguished fire aura" and "dry patina" ineffective. More alarmingly, the profit-driven system has eroded the credibility of authentication frameworks. With fewer than a few hundred nationally certified cultural relics experts available, they must authenticate millions of circulating artifacts annually. Some specialists examine over a hundred pieces daily, spending less than three minutes per item—a fast-food approach that completely deviates from the principle of "immersing in reality and grasping essence." Worse still, renowned expert teams charge exorbitant fees based on artifact valuations while simultaneously investing in auction houses. This has resulted in seven different versions of authentication certificates for a Ming Dynasty painters work within three years, turning academic discourse into a profit-driven tool.

Behind the debate between truth and falsehood is the complete confusion of the standard of beauty and ugliness, which in essence deviates from the core position of Comrade MAO Zedong that "literature and art serve the masses of the people".

When capital manipulates authentication results and technology falsifies historical traces, aesthetics lose its objective foundation and public perspective. Some collectors equate price levels with aesthetic value, mistaking rarity for artistic merit. This has elevated shoddy forgeries to pedestal status while marginalizing authentic works that embody genuine aesthetic spirit and embody the wisdom of the people. This indiscriminate aesthetic chaos not only distorts the value orientation of the art market but also alienates ancient art from the aesthetic needs of the masses, reducing it to a speculative tool for a privileged few. As Comrade Mao Zedong criticized in his critique of "alienated from the masses and empty in life" in literature and art, the current aesthetic alienation in the collecting market stems from disconnecting from the historical facts of cultural relics and the essential aesthetic nature of the people. This disconnect has turned aesthetic judgment into a product of subjective assumptions and interest-driven bargaining.

II. The Aesthetics of Confucius and Mencius: Seeking Truth from Facts on the Foundation of Traditional Aesthetic Thought

(1) "Beauty and Goodness as One": The factual foundation and value standpoint of aesthetic judgment

The core proposition of Confucian-Mencian aesthetics, "the unity of beauty and goodness", establishes a dual criterion for aesthetic activities based on facts and guided by the value of goodness, which echoes Mao Zedongs thoughts of "objective reality determines thoughts and feelings" and "literature and art serve the people" across time and space.

When evaluating the "Shao" and "Wu" musical compositions, Confucius remarked: "The Shao embodies both beauty and perfection, while the Wu achieves beauty without attaining moral excellence." This statement clearly delineates the dialectical relationship between "beauty" (formal appearance) and "moral excellence" (ethical substance and social value). Confucius maintained that genuine aesthetic value must be grounded in the unity of content and form. Pure formal beauty, lacking moral foundation, would degenerate into sensory stimulation akin to the "excessive music of Zheng" (a historical term for licentious music), failing to constitute authentic aesthetic experience. This aesthetic philosophy embodies a profound pragmatism: "Moral excellence" as objective ethical reality and social value provides an unshakable foundation for aesthetic judgment, preventing subjective arbitrariness in evaluation. This principle resonates with Comrade Mao Zedongs assertion that "literature and art must reflect the historical activities of the masses," demonstrating inherent consistency.

Mencius further developed this philosophy, proposing "fullness is beauty," which closely links aesthetic value with personal cultivation and social reality. In his view, the essence of beauty lies in the harmony between inner virtue and outward expression, as expressed in the saying: "benevolence, righteousness, propriety, and wisdom take root in the heart, manifesting as clear radiance on the face, evident on the back, and flowing through the limbs." This beauty is not artificial adornment but a natural expression of inner virtue, reflecting objective personality traits. Extending to the realm of art collection, the aesthetic value of ancient artifacts lies not only in their exquisite craftsmanship but also in the historical facts, cultural connotations, and peoples wisdom they embody—this aligns perfectly with Comrade Mao Zedongs assertion that "the peoples life is the sole source of literature and art." The patterns on a bronze vessel are not merely decorative beauty but also an objective reflection of the social hierarchy in a "ritual governance" society and the ingenuity of the people. The brushwork in an ancient painting is not just technical beauty but also a true portrayal of the literatis spiritual character and the living conditions of the era. The Confucian-Mencian aesthetic ideal of "the unity of beauty and goodness" fundamentally requires that aesthetic activities must be grounded in historical facts and social values, aiming to serve society and nourish the human spirit. This spirit of seeking truth from facts and the people-oriented stance in Mao Zedongs aesthetics are inherently consistent.

(2) "Unity of knowledge and action": The practical criterion and realistic path of aesthetic cognition

The Confucian-Mencian aesthetics emphasizes "the unity of knowledge and action," positioning practical verification as the cornerstone of aesthetic cognition. This embodies the spirit of seeking truth from facts and aligns closely with Comrade Mao Zedongs epistemological principle that "practice is the source of knowledge." Confucius advocated "learning and practicing regularly," where "practicing" not only means reviewing knowledge but also verifying its authenticity through hands-on application. In artistic aesthetics, this practical approach manifests as empirical research on artifacts—through examining material textures, observing craftsmanship details, and cross-referencing historical records—to form a comprehensive understanding of aesthetic objects. This methodology resonates with Comrade Mao Zedongs advocacy for "immersing in reality and conducting thorough investigations." Confucius proposed "painting follows the plainness," suggesting that artistic beauty must be grounded in material simplicity. This metaphorically implies that aesthetic creation must respect the inherent characteristics of physical materials and adhere to factual principles, embodying the traditional interpretation of "existence determines consciousness."

Mencius philosophy of "knowing words to nurture qi" further integrates aesthetic cognition with practical experience. The saying "I know words, I cultivate my mighty qi" emphasizes enhancing the acuity and reliability of aesthetic judgment through extensive practice and moral cultivation. The traditional collecting worlds reverence for "instant recognition upon handling" embodies this spirit of hands-on practice—appraisers accumulate sensory understanding of materials and craftsmanship through decades of handling artifacts from different eras and kilns. This practice-based aesthetic judgment fundamentally adheres to the principle of seeking truth from facts, validating Comrade Mao Zedongs scientific assertion that "practice alone is the sole criterion for testing truth." In contrast, the current chaos in the collecting market deviates from the "unity of knowledge and action" principle and Maos aesthetic philosophy. Some collectors make judgments based solely on images and certificates, while experts engage in theoretical discussions detached from physical objects, resulting in a severe disconnect between aesthetic perception and factual reality. As Comrade Mao criticized, this "car-building behind closed doors" approach to artistic creation ultimately loses its vitality.

(3) "The Way of the Middle": The objective standard of aesthetic scale and the pursuit of harmony

The "way of the mean" proposed by Confucius and Mencius established an objective and moderate judgment standard for aesthetic activities, avoiding the extremity and subjectivity of the judgment of beauty and ugliness, which echoed the dialectical thought of Comrade MAO Zedong that "literature and art should originate from life and be higher than life".

Confucius advocated the principle of "moderation over excess," emphasizing that aesthetic appreciation should align with objective laws and social norms. He opposed both crude, uncultured extremes and overly ornate extravagance. The Analects records Confucius statement: "I detest purple eclipsing vermilion, and I detest Zheng music disrupting the refined melodies." This was because purple replacing red and Zheng music disrupting refined melodies violated the objectivity of aesthetic order—a principle not artificially prescribed but formed through historical traditions and social consensus. This concept shares intrinsic unity with Comrade Mao Zedongs emphasis that "literature and art must conform to the aesthetic habits of the masses."

In ancient art collection, the beauty of "moderation" manifests through the pursuit of "vibrant energy" in artifacts—demanding exquisite craftsmanship while rejecting artificial embellishment, valuing historical significance while preserving artistic vitality. This philosophy resonates with Comrade Mao Zedongs advocacy for "the unity of revolutionary political content and artistic perfection." Take Song Dynasty porcelain as an example: its aesthetic features embody "subtle elegance and restrained simplicity," neither matching the Tang Dynastys tri-colored ceramics flamboyance nor the Yuan Dynastys blue-and-white porcelains opulence. Instead, it achieves a "perfect balance" through harmonious integration of material, form, and decoration. This aesthetic standard emerges from objective understanding of ceramic craftsmanships essence, the spirit of the times, and public aesthetic needs, vividly demonstrating the principle of "seeking truth from facts" in artistic creation. However, contemporary collectors often pursue exaggerated forms and garish colors, equating eccentricity with innovation and complexity with rarity. This contradicts the objective aesthetic criteria of "moderation" and Comrade Mao Zedongs principle that "art should be beloved by the masses," ultimately reducing to vulgar sensory stimulation that ignores the genuine aesthetic demands of the people.

III. The Inner Harmony Between Yang Xins Aesthetic Thought and Mao Zedongs Aesthetics: Seeking Truth from Facts in the Innovative Development of Modern Aesthetics

As the founder of aesthetics at Peking University, Professor Yang Xins philosophy bridges tradition and modernity. His work not only inherits the Chinese aesthetic traditions of "harmony between form and spirit" and "fusion of scene and emotion," but also aligns deeply with Mao Zedongs aesthetic principles. By integrating the spirit of seeking truth from facts with contemporary aesthetic practices, he provides crucial guidance for addressing the aesthetic dilemmas in todays art market. With decades of dedicated research, Professor Yang has developed an aesthetic system centered on "harmony as beauty," grounded in practical application, and aimed at aesthetic education. His philosophy resonates with Mao Zedongs core tenets that "the peoples life is the sole source of literature and art" and "literature and art serve the people," essentially representing an innovative development of the spirit of seeking truth from facts within modern aesthetics.

(1) "Harmony in Beauty" and "People-Oriented": The Objective Dimension of Aesthetic Value and the Commitment to Principles

Professor Yang Xin proposed the core concept of "beauty in harmony," emphasizing that beauty is the dialectical unity of subject and object, form and content, sensibility and rationality. This unity must be grounded in objective reality, which aligns closely with Comrade Mao Zedongs ideas that "literature and art should reflect objective reality" and "serve the masses." In Yang Xins view, aesthetic harmony is not a product of subjective imagination, but rather a reflection of the essential laws of objective existence. Natural beauty originates from the operational order of heaven and earth, artistic beauty stems from the authentic representation and elevation of real life, and social beauty arises from the coordinated development between people and society. This profoundly resonates with Comrade Mao Zedongs assertion that "human social life is the sole source of literature and art."

Applying Mao Zedongs aesthetic philosophy of "harmony as beauty" to ancient art collection requires us to base our approach on objective facts and prioritize public needs, comprehensively understanding the aesthetic elements of artifacts. The harmonious beauty of ancient objects first manifests in the synergy between materials and craftsmanship—bronzes durability harmonizes with casting techniques, while ceramics warmth aligns with glazing methods, both being objective creations rooted in material properties. Secondly, it reflects the harmony between form and function—decorative patterns matching object utility, and design styles echoing historical spirit, all authentically reflecting historical realities. Ultimately, it embodies the harmony between aesthetics and public taste—artifacts aesthetic features align with peoples living needs and aesthetic habits of their era, crystallizing collective wisdom. Professor Yang Xin emphasized: "Aesthetic judgment must respect objective laws; harmony divorced from reality can only be false beauty." This perspective sharply contrasts with Mao Zedongs criticism of "artistic detachment from the masses and reality," directly addressing the core issue of contemporary collectors market: some collectors ignore artifacts objective attributes and public aesthetic essence, blindly pursuing so-called "uniqueness," leading to the inversion of beauty and ugliness.

(2) "Practical Aesthetics" and "Unity of Knowledge and Action": Scientific Approaches and Practical Realizations in Aesthetic Cognition

Professor Yang Xin inherited and developed Marxist practical aesthetics, emphasizing that aesthetic activities are practical endeavors. Aesthetic cognition must be acquired through practice and tested by it, which aligns closely with Comrade Mao Zedongs aesthetic philosophy of "practice as the foundation of knowledge" and "the unity of knowledge and action." In Yang Xins view, aesthetic appreciation is not passive reception but an active cognitive process. Only through on-site investigation, meticulous analysis, and repeated verification of aesthetic objects can one form accurate aesthetic judgments—a principle that carries forward the literary methodology advocated by Comrade Mao Zedong: "immersing oneself in life and conducting thorough research."

In his work *New Compilation of Aesthetic Principles*, Professor Yang Xin clearly distinguishes between "beautiful form" and "formal beauty." He emphasizes that beautiful form is "definite, individual, specific, and concrete," inseparable from its content, while formal beauty represents standardized aesthetic norms. This distinction resonates with Mao Zedongs dialectical philosophy that "literature and art must originate from life yet transcend it," reminding us that aesthetic judgments in ancient art collection should not be divorced from the specific historical context, cultural connotations, and practical needs of the people, nor should they be judged solely by formal beauty. For instance, the cobalt coloration in Yuan Dynasty blue-and-white porcelain and the mortise-and-tenon joints in Ming-Qing furniture must be analyzed in conjunction with the craftsmanship level, cultural background, and living demands of their respective eras. Through methods like physical comparison, documentary research, and scientific testing, their authenticity and value can be determined—this exemplifies Mao Zedongs "seeking truth from facts" principle in practical collection. The "dual-track appraisal" model piloted in Shanghai Free Trade Zone, which requires auction items to provide both visual appraisal reports and five scientific test data points, has achieved a 50% return rate reduction within six months. This successful application of aesthetic principles and Maos pragmatic spirit in market governance validates the scientific assertion that "practice is the sole criterion for testing truth."

(3) "Aesthetic Education" and "Spiritual Guidance": The Ultimate Value and Mission of Aesthetic Practice

Professor Yang Xin consistently emphasizes the educational function of aesthetic education, asserting that aesthetic appreciation is not merely about perceiving and judging beauty, but rather a process of personality refinement and spiritual elevation. This aligns closely with Comrade Mao Zedongs mission requirement that "literature and art should unite and educate the people." In Yang Xins view, the core of aesthetic education lies in guiding people to establish correct aesthetic values, cultivate fact-based aesthetic judgment, and resist the erosion of utilitarianism and formalism. Comrade Mao Zedong further regarded literature and art as "powerful weapons for uniting and educating the people, combating and eliminating enemies," emphasizing their ideological guidance and spiritual shaping functions. Together, these perspectives highlight the ultimate value of aesthetic education—enhancing the cultural literacy of the entire population through aesthetic practice and consolidating the national spirit.

Professor Yang Xins aesthetic education philosophy and Comrade Mao Zedongs artistic education approach both inherit the Confucian tradition of "nurturing through beauty." Confucius proposed "inspired by poetry, grounded in ritual, perfected through music," viewing aesthetic education as a vital pathway to cultivating noble character. Comrade Mao Zedong emphasized that literature and art should "unite the masses and sustain their struggle." Yang Xin further integrated aesthetic education with modern personality development, stressing that "through aesthetic practice, we cultivate spiritual qualities of respecting facts and pursuing truth."

In the realm of ancient art collection, aesthetic education transcends mere skill-building in discerning authenticity and appreciating beauty. Its true value lies in facilitating dialogue with historical artifacts, enabling us to comprehend historical truths, preserve cultural heritage, and embody the wisdom of our ancestors – a vivid embodiment of Comrade Mao Zedongs principle that "literature and art must reflect the peoples historical endeavors." A painted pottery from the Yangshao Culture not only reveals the raw beauty of primitive artistry but also unveils the ingenuity and creativity of our ancestors. A calligraphy masterpiece by Wang Xizhi allows us to appreciate the fluidity of brushwork while sensing the intellectual integrity of Wei-Jin literati and the peoples enduring pursuit of a fulfilling life. Such fact-based aesthetic experiences help cultivate proper collection ethics, free us from blind price worship, and guide us back to the essence of artistic appreciation rooted in human values.

IV. Reconstructing the aesthetic system based on facts: the dual path of market purification and spiritual return

To rehabilitate distorted aesthetic perceptions and purify the ancient art collection market, we must take Comrade Mao Zedongs aesthetic philosophy as our fundamental guide. By integrating Confucian-Mencian aesthetics with Professor Yang Xins modern aesthetic wisdom, and adhering to the principle of seeking truth from facts, we should develop a systematic solution through three dimensions: cognitive reconstruction, institutional safeguards, and universal aesthetic education. This approach will restore both market order and spiritual values, ensuring ancient art truly serves the public and preserves national cultural heritage.

(1) Reconstructing cognition: Establishing aesthetic judgment criteria based on facts and peoples position

The reconstruction of aesthetic cognition is the fundamental premise for saving aesthetic views. We must return to the core ideas of Comrade MAO Zedong "objective reality determines thoughts and feelings" and "literature and art serve the people", adhere to the aesthetic concepts of Confucius and Mencius "the unity of beauty and goodness" and Yang Xin "beauty in harmony", and establish the judgment criteria with facts as the core and the people as the standpoint.

First of all, we should adhere to the cognitive principle of "truth and falsehood as the basis", and establish the identification of cultural relics on the basis of multiple factual basis such as material analysis, oxidation surface, process verification, literature verification and scientific and technological testing, just as Comrade MAO Zedong emphasized "all starts from reality".

Collectors should abandon the mentality of "finding a bargain" and the mentality of speculation. Through systematic study of cultural relics and participation in practical investigation, they should improve their ability to understand the essential characteristics of objects, and not blindly follow the opinions of experts or superstitiously believe in the authentication certificates. They should treat every collection with the attitude of "seeing is believing" and "mutual examination of multiple certificates".

Secondly, we must uphold the value principle of "harmonizing beauty with virtue and prioritizing the peoples needs." While valuing the aesthetic forms of artifacts, greater emphasis should be placed on their historical significance, cultural depth, and the wisdom embodied by the people. As Comrade Mao Zedong advocated that literature and art should "praise the peoples labor and struggles," the aesthetic pursuit in collecting should also achieve unity between form and substance. The true aesthetic value of an artifact lies not only in its exquisite craftsmanship and intricate patterns, but more importantly in its role as a witness to historical facts, a reflection of the peoples creativity, and a carrier of cultural heritage. We must guard against the tendency to pursue bizarre forms and rare materials while neglecting cultural depth and public aesthetic demands. Let us return to the tradition of "using beauty to convey moral principles and educate through aesthetics," allowing ancient art to become a spiritual vessel that preserves civilization and nourishes the human spirit, thereby fulfilling Comrade Mao Zedongs fundamental principle that "literature and art serve the people."

Ultimately, we must adhere to the "unity of knowledge and action" principle by integrating theoretical learning with practical experience. Drawing inspiration from Comrade Mao Zedongs "immersing oneself in life and conducting field research" methodology and Professor Yang Xins aesthetic philosophy of practice, collectors should actively engage with museums, art galleries, and nature. Through hands-on interactions with artifacts, meticulous observation of details, and guided interpretation, they can build intuitive understanding. Participating in academic exchanges and collection discussions allows for peer-to-peer knowledge sharing and cross-verification. Proactively acquiring expertise in scientific authentication—including techniques like X-ray fluorescence spectroscopy and thermoluminescence dating—empowers collectors to validate findings using modern technology. Only through continuous validation of theories and practices can we develop objective aesthetic cognition, resist misinformation, and truly embody Comrade Mao Zedongs advocacy of "seeking truth from facts."

(2) Improve the system: Build a market governance system based on facts and putting people first

The institutional safeguards for maintaining market order serve as the foundation for implementing the principle of "seeking truth from facts" in aesthetic practice. Guided by Comrade Mao Zedongs fundamental tenet of "serving the people," we must establish a comprehensive governance system integrating technological empowerment, institutional constraints, and credit reconstruction to ensure market operations align with factual laws and meet public needs. First, we should promote the "dual-track authentication" model, making scientific testing a mandatory component of cultural relic appraisal. All circulating artifacts must simultaneously provide visual inspection reports and multidimensional scientific test data, with clearly defined technical evaluation standards. This data-driven approach reduces subjective human judgment and profit-driven interference, embodying the practical application of Comrade Mao Zedongs "seeking truth from facts" philosophy in institutional design. To address the current shortage of appraisal experts, a unified national expert database for cultural relics authentication should be established, implementing "random selection, conflict-of-interest avoidance, and lifelong accountability" mechanisms. This will prevent expert-broker-auction house collusion and ensure objective, fair appraisal outcomes.

Secondly, it is crucial to strengthen legal frameworks and enhance penalties for violations to protect citizens legitimate rights. The Auction Law should be revised to clarify authenticity requirements for auction items, explicitly define auction houses responsibility for ensuring authenticity, and eliminate the unreasonable exemption clause stating "no guarantee of authenticity." Authorities must impose severe penalties on auction houses knowingly selling counterfeit items or engaging in false advertising – this aligns with Comrade Mao Zedongs principle of "struggling against enemies while protecting the people," where "enemies" here refer to lawbreakers disrupting market order and harming public interests. Authorities should crack down on illegal activities like antiquities scalpers, fake authentication, and cultural relic forgery to dismantle the counterfeit industry chain and purify the market. Simultaneously, establishing a cultural relics traceability system using blockchain technology to create tamper-proof digital identity records for each artifact will document provenance and authentication history, ensuring transparency in the provenance of cultural relics and safeguarding citizens right to information and choice.

Finally, we must reconstruct the industrys credit system by establishing a credit rating framework for collectors, auction houses, and appraisal institutions. Dishonest behaviors should be recorded in credit archives, with market access restrictions enforced. Industry associations should be encouraged to exercise self-regulation by formulating unified standards and professional ethics codes. This will guide practitioners to uphold the principles of factual accuracy and public service, abandoning short-term gains for long-term development. Through institutional constraints and credit incentives, we aim to make "truth-seeking and integrity in operations" the dominant values in the collecting industry. Practitioners who adhere to facts and serve the public will gain market recognition, while fraudsters will have nowhere to hide. This will ultimately build a healthy market ecosystem that serves the peoples interests.

(3) Popularizing aesthetic education: cultivating realistic aesthetic literacy and peoples feelings

The enhancement of aesthetic literacy across society forms the social foundation for the return of aesthetic values. Guided by Comrade Mao Zedongs mission of "cultivating the people through cultural education," the Confucian-Mencian tradition of aesthetic education, and Yang Xins aesthetic philosophy, we must establish a multi-tiered, comprehensive aesthetic education system. This will foster a consensus on truth-seeking in aesthetics and cultivate aesthetic awareness rooted in people-oriented values. First, ancient art education should be integrated into the national education framework. From primary education, courses on cultural relic appreciation and traditional aesthetics should be introduced. Through hands-on observation, case studies, and practical experiences, young people can acquire fundamental knowledge of Chinese traditional arts, master objective aesthetic approaches, and develop pride in cultural heritage. This aligns with Comrade Mao Zedongs educational vision of "cultivating successors for the revolution."

Secondly, we should strengthen public cultural services. Museums and art galleries should launch more ancient art exhibitions and educational activities for the general public, implementing Comrade Mao Zedongs cultural policy of "combining popularization with improvement." Through formats like expert lectures, interactive experiences, and online live broadcasts, they can popularize knowledge about cultural relic authentication and aesthetic principles. By leveraging digital media technologies, museum collections can be digitized, and virtual exhibition halls and cultural relic appreciation mini-programs developed. This allows the public to observe cultural relics in detail and learn authentication methods from home. Just as "Shi Yi Dongpo" uses AI technology to visualize the literary spirit of Su Dongpo, we can also use digital technology to make traditional aesthetic knowledge accessible and engaging, enhancing public participation and bringing ancient art into peoples daily lives.

Finally, we must harness the medias guiding role to counteract sensationalized and utilitarian approaches in collecting promotion. By producing programs and articles that advocate proper collection principles and aesthetic values, we fulfill Comrade Mao Zedongs mission that "literature and art should unite and educate the people." Inviting experts, scholars, and veteran collectors to share practical case studies will expose market manipulation tactics, guiding the public toward rational and culturally grounded collecting practices. This fosters an aesthetic ethos of "respecting history, valuing authenticity, and serving the people." Through multi-channel aesthetic education initiatives, we aim to establish historical accuracy as a universal aesthetic consensus, while cultivating a social ethos of honoring truth and pursuing genuine beauty. By fundamentally eliminating the breeding ground for false aesthetics, we ensure the Chinese aesthetic spirit truly takes root among the people.

V. Conclusion: Protecting the aesthetic genes of civilization and the peoples position with facts

The aesthetic chaos in the ancient art market fundamentally reflects the loss of spiritual essence in cultural inheritance and the deviation from the peoples perspective. When the spirit of seeking truth from facts is eroded by utilitarianism, and when judgments of beauty and ugliness detach from factual foundations and public needs, collections cease to serve as vehicles for cultural transmission and become tools for profit exchange. Comrade Mao Zedongs aesthetic philosophy, rooted in "seeking truth from facts" as its cognitive core and "people-oriented" as its value stance, established fundamental principles for aesthetic practice. Confucian-Mencian aesthetics, centered on "the unity of beauty and goodness" and "the unity of knowledge and action," established a tradition of fact-based aesthetics. Professor Yang Xins approach, emphasizing "harmony in beauty" and "practical aesthetics," infused traditional aesthetics with modern scientific connotations. These three perspectives converge on a core truth: Aesthetics must be grounded in reality and rooted in the people. Beauty divorced from facts is inevitably false and hollow, while beauty detached from the people is bound to be sourceless and short-lived.

To preserve our aesthetic sensibilities, we must return to the fundamental principles of seeking truth from facts and serving the people as advocated by Comrade Mao Zedong. In the practice of collecting, we should uphold the baseline of discerning authenticity, adhere to the value standard of beauty and goodness, and implement the practice of unity between knowledge and action. This requires reconstructing cognitive frameworks, improving institutional systems, and popularizing aesthetic education. By doing so, we can restore the essence of cultural inheritance and the original purpose of serving the people in ancient art collection. Every artifact should tell authentic historical stories, every aesthetic experience should nourish a pure spiritual world, and ancient art should truly become a spiritual bond connecting history with reality and enriching peoples hearts.

At this new historical juncture, we must preserve the spiritual essence of traditional aesthetics while embracing modern scientific methodologies. Most crucially, we must steadfastly uphold Comrade Mao Zedongs aesthetic philosophy and people-centered principles, using the principle of seeking truth from facts as a bridge to connect tradition with modernity, academia with the market, and individuals with society. Only through this approach can we purify the ecosystem of the ancient art collection market, reconstruct a healthy aesthetic system, and revitalize the Chinese aesthetic spirit in the new era. This will ensure the enduring transmission of the aesthetic genes of Chinas five-thousand-year civilization, providing powerful spiritual impetus for national rejuvenation. Ultimately, we will realize Comrade Mao Zedongs vision that "literature and art should become a powerful force for uniting, educating, and inspiring the people to forge ahead."