Abstract
The theory of art as sedimentation as is originated from an anthropo-historical viewpoint peculiar of Li Zehou’s practical aesthetics. Up till now there still arises a question as regards whether or not the theory of art as sedimentation has overcome the difficulty in defining art as such. Li holds up to his conception of art as sedimentation of form, image, and significance, and retains his personal preference for the aesthetic values, cultural properties, and moral messages all exemplified in artworks to his mind. He therefore finds the avant-garde pieces failing to meet the requirements on art in his conception. Quite ironically, Li follows Dewey to stress the necessity and importance of daily life and intends to propose a broad scope and view of art as experience, but both of them stay in their individual tastes and senses of art that seem to be more traditional and classical than modern, more moral than sensual, more serious than playful, and more elite than popular.
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