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若从审美活动的整体构成着眼，盛唐时期就并非如有些论者所认为的，是隋唐美学或整个中国美学思想史的低潮或沉寂阶段。相反，它是隋唐前期审美文化和美学思想空前兴盛与繁荣的阶段，在艺术审美的许多领域里，盛唐都具有它的创见性，既实现了对其时代艺术审美的理论自觉，又产生出对其以后美学思想的开启作用。而“盛唐气象”更将中国古典审美文化推向了雄浑与秀丽统一、“风骨”与“兴象”并重的丰厚境界和最高巅峰，并以其充盈圆熟、高苍浑朴的博大精神及多维指向，开启着中唐时期、甚至整个隋唐后期艺术审美的历史转换和更新。
From the perspective of the overall composition of aesthetic activities, the Tang Dynasty was not the stage of ebb and flow of the aesthetic history of the Sui and Tang Dynasties or the history of Chinese aesthetics thought, as some commentators believed. On the contrary, it is the stage of unprecedented prosperity and prosperity of the aesthetic culture and aesthetics in the early Sui and Tang Dynasties. In many fields of artistic appreciation, the prosperous Tang has its creativeness. It not only realizes the theoretical consciousness of aesthetic appreciation of its time but also produces The opening of its future aesthetic ideas. The “Tang Dynasty Meteorology” even brings the classical Chinese aesthetic culture to the rich realms and the highest peaks that emphasize the unity of the vigorous and the beautiful, “style of the bones” and “the image of the elephant”. With its rich and mature spirit, Point, open the historical transformation and renewal of the art appreciation in the middle period of the Tang Dynasty, and even the whole of the Sui and Tang dynasties.