陈铨是战国策派的中坚人物,截至目前,学界对他的关注大都集中在政治上的平反,即便是学理性的研究,也基本着重于他对民族文学的提倡和实践上。但他在美学上的重要贡献,尤其是他对悲剧理念的阐述往往被学界所忽视。要谈论陈铨对中国现代美学的贡献,尤其是他对悲剧理念的贡献,我们有必要为其找到一个参照对象。众所周知,在中国近现代美学史上,王国维是一个举足轻重的人物, Chen Quan is the backbone of the Warring States faction. As of now, the academic circles mostly focus on his political rebellion. Even if he studies rationally, he mainly focuses on his advocacy and practice of national literature. However, his important contribution to aesthetics, especially his elaboration of the idea of ​​tragedy is often neglected by the academic circles. To talk about Chen Quan’s contribution to China’s modern aesthetics, especially his contribution to the concept of tragedy, we need to find a reference object for it. As we all know, in the history of modern Chinese aesthetics, Wang Guowei is a pivotal figure,