It is generally believed that China's aesthetics is the product of traditional farming civilization, and its aesthetics mainly points to rural areas, rural areas and natural landscapes. This understanding leads to misjudgment of the traditional culture or civilization of China, and affects the understanding of China's aesthetic and artistic diversity and richness. In fact, praising rural areas, rural areas and natural landscapes is certainly the value choice of China's aesthetics and art, but it is not enough to detract from the leading role of cities in people's aesthetic creation and guidance. In traditional China, the city is not only the political, economic and cultural center of the country, but also the center of manufacturing and spreading beauty. During the Longshan Culture period 4,000 years ago, primitive cities began to appear in the Central Plains of China, such as Zhangqiu Ziya site in Shandong, Yaowangcheng site in Rizhao, Pingliangtai ancient city site in Huaiyang, Henan, Wang Chenggang site in Dengfeng, Haojiatai site in Yancheng, Mengzhuang site in Huixian, etc., all of which showed the basic organizational form and functional composition of China city in later generations. The appearance of the city shows that China society at that time has gathered from scattered villages across villages to the central area. The centripetal force and absorptive capacity of the city to the surrounding areas enable the formation of a civilized unity that spans blood, race and region. From the aesthetic point of view, the city at this time has become a distribution center of exquisite utensils because of the gathering of skilled craftsmen, and a leader of regional aesthetic fashion and a maker of aesthetic standards because of its strong politics, economy and culture.

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.