The combination of Confucianism and Taoism is the basic feature of Zhengshi aesthetic trend of thought. The beauty of "harmony" based on Confucian philosophy and the aesthetic transcendence consciousness based on Taoist philosophy are the two cores of Zhengshi aesthetic trend of thought. In the early period of Zhengshi, "harmony" was the beauty, and it was integrated into Taoist natural aesthetics. It has gone through three stages: Liu Shao's theory of human nature, Wang Bi's philosophical ontology, and then Ji and Ruan's theory of artistic category with ontology as the core. Aesthetic transcendence consciousness is the mainstream of Zhengshi aesthetics. Wang Bi's argument between words and meanings and his theory of being or not are based on Taoist ontology. From the perspective of aesthetic principles, Wang Bi attaches importance to the coexistence of non-objective reality and objective reality of aesthetic objects, and emphasizes the non-objective reality of objects; Attach importance to the coexistence of extrasensory experience and sensory experience of aesthetic subject, and emphasize the extrasensory experience of subject; Attach importance to the coexistence of infinity and finiteness and emphasize the infinity of aesthetics. From the meaning of the text, Wang Bi emphasizes the relationship between words and images, images and meanings, and words and meanings, and also aims to reveal the transcendence of aesthetic subjects over objects and pursue infinity in pursuit of various satisfactions. Ji Kang also emphasized aesthetic transcendence, but only took Lao Zi's ontology philosophy as the aesthetic way and Zhuangzi's life philosophy of "doing nothing" and "no self" as the basic point, and emphasized that the aesthetic subject changed from "doing nothing"-transcending reality and returning to self-nature to "no self"-transcending self and returning to nature, and reached the spiritual realm of absolute freedom.