At the end of the year and the beginning of the year, "new popular literature and art" became a hot topic in the literary and artistic circles. The rise of micro dramas, the empowerment of artificial intelligence in creation, and the flourishing of immersive theater... People are constantly accepting new literary and artistic gains. At the same time, by sending a short video, writing an online novel, launching a talent live broadcast, or creating a song with AI, hundreds of millions of people are making new literary and artistic creation on the Internet at any time. The new popular art is becoming a surging new wave. Where is the new mass art and literature? Why did it happen? What opportunities and challenges does it bring to literary and artistic creation in our era? Recently, experts and scholars in the literary and artistic circles have engaged in heated discussions on this matter. The people are participating in literary and artistic creation with unprecedented scale, ability, and willingness. "When we talk about new popular literature and art, what are we talking about?" Li Jingze, member of the Party Group and Vice Chairman of the Chinese Writers Association, has been pondering this question. In his view, the concept of "new popular literature and art" did not come out of thin air, but rather emerged from the enormous changes in the current popular literary and artistic life of the people. In recent years, with the rapid development of the economy and society, the spiritual and cultural needs of the people have shown diversified, multi-level, and multi-faceted characteristics. At the same time, with China building the world's largest education system, the cultural quality of its super large population has generally improved. Li Jingze believes that this is the foundation for the emergence of new popular literature and art, which not only brings about a huge increase in the demand for spiritual and cultural needs, but also higher requirements for the quality of spiritual and cultural life. At the same time, the ever-changing Internet and informatization tide has provided a strong impetus for the rise of new popular literature and art, not only reshaping people's reading and viewing habits, but also changing the form of the main body of literature and art. The new form of subjectivity, which involves participation, interaction, acceptance, simultaneous output, imitation, and creation, is becoming commonplace unconsciously. Literature and art deeply intervene in life, and life directly intervenes in literature and art, "said Li Jingze. Technological innovation brings about new changes in literature and art, and the combination of technology and humanities constantly expands the new connotations of creation. Yan An, Vice Chairman of Shaanxi Writers Association, observed that the styles of language works are becoming increasingly diverse, and the influence of video works is growing day by day. At the same time, new popular literature and art often have a fusion of elements such as language, music, and video, and the boundaries of creators are blurred. Some works are the result of co creation by multiple people. In the era of media convergence, the content that was originally divided into various specific disciplines has also ushered in new adjustments and integrations. Liu Daxian, a researcher at the Chinese Academy of Social Sciences, analyzed that this transformation was initiated by the daily life of technology, involving various aspects, including public participation in the subject, real-time interaction and human-computer interaction in writing, mobile popularization in communication, and video transformation in reading. For example, media convergence has promoted the transformation of literary and artistic works from a single textual form to multimodal forms such as graphics, text, and video, resulting in many "pan literary" works. The acceptance and dissemination have also changed, and recommendation algorithms locate readers' reading interests based on their reading experiences, and create user profiles based on reader feedback. All of this not only challenges the boundaries of traditional literature, but also forces everyone to rethink what literature in the data age is. In the past, literature and art mostly relied on intellectuals and specialized personnel who had received education and training to complete creative tasks, which were selected through media screening Professor Xu Miaomiao from the Institute of Art and Aesthetic Education at Capital Normal University pointed out that in the era of new media, the subjectivity of the masses has become prominent. The popularization of cultural and educational subjects and new media technologies allows the masses to write, draw, and perform on their own, as well as form a creative community in the online environment, resulting in numerous literary and artistic products that combine text, images, and sound. Literary and artistic creation is no longer about 'you say, I listen, you write, I read, you say, I appreciate'. The people are participating in literary and artistic creation with unprecedented scale, ability, and willingness. In the view of Qin Lanjun, an associate researcher at the China Academy of Art, from the perspective of production mechanism, the new popular literature and art belongs to the "marketplace" model, which is the "co construction and sharing" model in the online society. In terms of aesthetic taste, traditional literature and art pursue orderliness and directionality, while new popular literature and art place more emphasis on interactivity and sociality. The public is no longer passively accepting, but actively choosing interesting content. It is not enough to only explore surface phenomena, but also to deeply analyze the underlying life logic and aesthetic logic behind them. The popularization of literature and art has always been an important proposition for the development of Chinese literature and art. Yang Yi, a lecturer at the Feng Jicai Literature and Art Research Institute of Tianjin University, believes that the development of popular literature and art in China has gone through four stages: the mass enlightenment type during the May Fourth Movement, the mass mobilization type in the 1930s and 1940s, the mass entertainment type in the 1990s, and the current new popular literature and art. But new popular literature and art have shown unprecedented new characteristics in terms of creative subjects, processes, forms, and so on. We need to explore with a historical perspective what significant changes have occurred in the literary and artistic life of people today compared to those ten or twenty years ago Li Jingze stated that traditional and new forms of literature and art collide and collide with each other in the plate movement of the new era, opening up many new spaces for theoretical innovation and artistic creation. The discussion of new popular literature and art should not only focus on exploring surface phenomena, but also deeply analyze the underlying life logic and aesthetic logic behind them. New popular literature and art require a new discourse system. Strengthening the research, interpretation, and guidance of new popular literature and art is a very urgent issue. When it comes to new popular literature and art, Liu Qiong, Deputy Director of the Literature and Art Department of People's Daily, immediately thinks of the speech at the Yan'an Forum on Literature and Art. At that time, art forms such as Yangju opera emerged. Nationalized forms and popular aesthetics are the common characteristics of popular literature and art. This still inspires our current popular literature and art creation. She believes that the underlying logic of popular literature and art is resonance and resonance. The emergence of new experiences and languages will continuously inject new blood and soul into the new popular literature and art. Studying new popular literature and art cannot be separated from a holistic perspective. Professor He Guimei from the Chinese Department of Peking University pointed out that when we talk about "the masses", it seems that we are referring to individuals, but it is not the sum of individual people that constitutes society. A society needs to be able to act together, which requires organizing people one by one through media and art. From a practical perspective, we need to think about how to organize these dispersed individuals and diverse popular literature and art, making them truly popular and accessible to the people. Yang Chen, a lecturer in the Chinese Department of East China Normal University, agrees with this viewpoint. Shaping a common culture requires attention to common issues and public values, which requires stepping out of personal narrow experiences, recognizing different ways of life, understanding what others think and love, and forming our understanding of being in the same historical context. Only in this way can we achieve a universal populism or publicness. "He believes that in this situation, what we are talking about must be a new popular literature and art, which can re assume or activate a public literature and art under new media conditions and historical contexts. The new popular art is not a contour, but a field. In academic research, it should not be just a descriptive concept, but a constructive concept Associate Professor Cong Zhichen of the Department of Chinese at Peking University believes that humanities scholars should maintain a more dialectical attitude. On the one hand, we should see the creative vitality contained in the new popular literature and art; On the other hand, we should also dare to face the problems that exist and make reflections with a humanistic standpoint. Faced with the surging wave of new literature and art, how traditional literature, film and television, and stage art can embrace and integrate with the enthusiasm of new media is also an important issue facing the new mass literature and art. We cannot deny traditional professional artistic creation just because we emphasize new popular literature and art. Everyone can become a writer, artist, and create, which inevitably forces traditional writers to reflect on their own creations He Guimei pointed out that professional creators need to change their mindset, explore how to communicate with the new mass art, and find their own position in the era of new mass art. "A writer must have a broad vision, combining people's consciousness, political perspective, and creative skills. In the view of Hu Yifeng, deputy director of the theoretical research office of the China Federation of Literary and Art Circles, there is obviously no linear substitution relationship between the new popular literature and art and the traditional literature and art. Instead, there is a relationship between you and me. The real difference is that the new popular literature and art is to think about problems within the framework of users and professional production, which is a typical Internet thinking. He believes that it is necessary to open up channels between new popular literature and traditional literature, unleash the creative vitality of various fields, and create literary works that meet the aesthetic of the times and the needs of the people. (New Society)