摘要： 20世纪初，西方美学经王国维等先贤介绍进入中国，自此开启了它的中国化进程。鉴于美学理论自身的非确定性和中国传统美学资源的庞大和浩瀚，相关的中国美学史研究一直难以形成稳定的形态。其中，概念（范畴）史研究最具奠基性，思想史、命题史、文化史、观念史是其放大形态。但是，一种更彻底的美学史观照法仍然存在，这就是放弃一切建构中国美学史的理论企图，直接看中国历史本身到底能够给予美学什么，据此，在地理学层面可以发现一个审美化的国家观，在生产方式上可以发现它的农耕传统和乡村本色，在看待世界的方式上则可以发现它的城市视角。也就是说，地理、农耕、城市是进入中国美学的基础，由此形成一种最低限度的美学，大致可以为中国美学划出一个难以继续还原的底线。

关键词: 中国美学, 审美地理学, 农耕传统, 城市视角

Abstract: At the beginning of the 20th century, Western aesthetics was introduced to China through the efforts of scholars like Wang Guowei, thus initiating its Sinicization process. Given the inherent indeterminacy of aesthetic theory and the vastness of traditional Chinese aesthetic resources, research on the history of Chinese aesthetics has struggled to form a stable form. Among these, the study of conceptual (category) history has been the most foundational, with intellectual history, proposition history, cultural history, and ideological history serving as itsexpanded forms. However, a more thorough approach to the history of aesthetics still exists—abandoning all attempts to construct a theoretical framework for Chinese aesthetics and directly examining what Chinese history itself can offer to aesthetics. Accordingly, at the geographical level, an aestheticized view of the nation can be discerned; in terms of production modes, its agrarian traditions and rural essence can be identified; and in the way of perceiving the world, its urban perspective can be observed. In other words, geography, agrarianism, and urbanity form the foundation for entering Chinese aesthetics. This leads to a minimum aesthetics, which roughly delineates a baseline for Chinese aesthetics that is difficult to further reduce.

Key words: Chinese aesthetics, aesthetic geography, farming tradition, urban perspective