Chen Wangheng’s new work, A Comprehensive History of Chinese Aesthetics, offers significant insights into the paradigm for writing the history of Chinese aesthetics within a globalized context. Its innovative value is prominently reflected in the following six dimensions: First, it expands the research scope by constructing a dual framework of “comprehensive history of aesthetics + history of national cultural development”. By breaking through traditional boundaries in terms of temporal span and content breadth, the book incorporates previously neglected or underrepresented aesthetic topics, thereby substantially extending the investigative range of Chinese aesthetics. Second, it integrates theory and historical materials to achieve a unity of historical context and logical deduction. Grounded in solid historical sources and supported by systematic theory, the narrative of aesthetic history adheres to historical authenticity while maintaining rigorous logical persuasiveness. Third, it bridges Chinese and Western discourses, achieving an academic breakthrough in bidirectional transformation. It not only promotes the Sinicized interpretation of Western aesthetic theories but also advances the global articulation of traditional Chinese aesthetic thought, establishing a bridge for cross-cultural dialogue. Fourth, it connects ancient and modern times, implementing a research orientation of “making the past serve the present and using history as a mirror for today”. Based on contemporary issues, it excavates the practical value of traditional aesthetics, enabling historical research to effectively respond to the demands of the times. Fifth, it combines sentiments toward family and nation with an open-minded spirit, highlighting the humanistic warmth of scholarly work. Beyond rigorous academic discussion, the text is imbued with a profound identification with national culture and an open vision toward the world. Sixth, it focuses on core characteristics, employing “spiritual realm” and “unity of heaven and humanity” to structure the entire work. “Spiritual realm” serves as the ontological category permeating research areas such as personality, literature, and art, while “unity of heaven and humanity” acts as the spiritual core guiding the overall narrative of Chinese aesthetic history, emphasizing the distinctive character of Chinese aesthetics.