China's early social aesthetics and artistic creation gathered in the city, mainly reflected in the following aspects: First, the major archaeological activities related to beauty and art in modern China, starting from Longshan culture, were almost all around the early cities. For example, the black pottery in Chengziya, Shandong, the bronzes in Erlitou and Dahe Village, Henan, and the city site all constitute the existence field of artifacts. During the Three Dynasties, this trend intensified, such as the archaeology of Yin Ruins in Henan and Joo Won? in Shaanxi, which should be regarded as the category of urban archaeology. Later, the weight of tombs in China archaeology increased day by day, but large tombs were generally located in the suburbs of cities and existed as extensions or appendages of cities. The artistic style of unearthed objects showed consistency with regional cities. Secondly, as American scholar Lewis said, cities are containers of culture. In China, traditional cities are not only containers of beauty and culture, but also material forms of politics, philosophy and artistic thoughts. According to documents such as Shangshu and Yizhoushu, China's early urban planning began with the construction of Luoyi in the early years of the Western Zhou Dynasty. The reason why the Zhou Dynasty chose to build the imperial city in Luoyi was because it was regarded as the center of the world. Since then, the urban layout of "Zuo Zu You She" and the four-door design of "Qinglong White Tiger, Suzaku Xuanwu" have become the basic modes of urban construction in China. It can be seen from this that the ancients built cities not only for "accommodating people" and commercial trade, but also for the builder's world concept and philosophical ideal. This is a meaningful form, which marks the birth of an urban philosophy and aesthetics with inner spiritual depth. Thirdly, since the city has become the political power center of the country, it has also become a gathering place for artists and thinkers. For example, in "On Guoyu Zhou Yu", it is said: "The Emperor listens to politics and makes officials and ministers offer poems, songs, history books, teachers' words, fu, recitation and admonition." Among them, Gong Qing, You, Shi, Shi, You, Meng and Bai Gong are not only politicians or administrative officials, but also artists in the city. Correspondingly, the thinkers of later generations are mostly urban residents. Like Confucius and Mozi, they traveled all over the world. They just walked from one city to another. As for the hermits among China literati, they seem to be alienated from the city, but they often live in rivers and lakes, and their minds are on Wei Que. After Wei and Jin Dynasties, the concept of "hiding in the city" appeared, which highlighted the overall tolerance of the city to literati, including aesthetics and artists.