General Secretary Xi Jinping pointed out: "We must comprehensively strengthen and improve school aesthetic education, equip all aesthetic education teachers, adhere to using aesthetic and cultural talents to enhance students' aesthetic and humanistic literacy. Aesthetics is a unique advanced activity of human beings with distinct cultural characteristics. As an important component of higher education, aesthetic education is not only about imparting artistic skills, but also about improving students' aesthetic literacy and shaping cultural identity. The appreciation of beauty is not a passive acceptance, but an active process of creation by the appreciator. The effectiveness of aesthetic education in universities lies in stimulating students' "empathy" as aesthetic subjects, allowing their life emotions to blend with the historical context of artistic classics. The design of aesthetic education courses should create conditions to guide this creative "encounter", allowing historical culture and contemporary students' aesthetic experiences to collide and enrich each other. Aesthetic activities help aesthetic subjects form profound cultural memories. We need to recognize that the formation of cultural knowledge is not a simple linear evolution process, but the result of the interaction and dynamic construction of multiple forces under specific social and historical conditions. Aesthetic activities and cultural cognitive activities are seamlessly integrated, and fully utilizing this can help students maintain a clear cultural positioning and firm cultural confidence in the context of economic globalization and diverse cultures. The process of aesthetic appreciation and creation has an immersive effect of "moistening things silently". Through interpretation, experience, and creation, aesthetic education teachers use the rich aesthetic elements and cultural information contained in aesthetic works to stimulate students' interest in art and culture, subtly integrate truth, goodness, and beauty into the hearts of young people, and form deeper cultural memories. For example, the brushwork of using white as black and virtual as real in Chinese traditional painting reflects the dialectics of ancient Chinese people, giving Chinese painting unique aesthetic characteristics. It also reflects the Chinese way of thinking, thus possessing distinct cultural characteristics and historical significance. Studying more masterpieces in traditional Chinese painting and engaging in Chinese painting creation can help students develop a grasp of Chinese aesthetic and cultural pursuits, and enhance their confidence in the excellent traditional Chinese culture. At the same time, aesthetic education should have an open perspective, so that students can not only deeply understand the essence of their own national culture, but also face other cultural forms with an open attitude, achieving the organic unity of cultural identity and modern civic literacy. Aesthetic practice teaching shifts cultural identity from rational cognition to emotional internalization. The formation of cultural identity is not solely based on rational cognition, but requires internalization through practical experience of physical presence. People interact with the world through their own sensory and bodily practical activities, therefore, the perception of beauty is first and foremost a bodily practice, a profound participation and construction of all senses in historical and social dimensions. In the theme song "My Motherland" of the movie "Shangganling", it is sung: "A great river with wide waves, the wind blowing the fragrance of rice flowers on both sides..." Lyricist Qiao Yu said that this great river may be the Yangtze River, the Yellow River, or the river of everyone's hometown. It embodies the love of the traveler for their motherland and the longing for their hometown. Listening to this song evokes rich associations, such as waves, rice fragrance, and home. These seemingly ordinary images comfort the homesickness and patriotism of soldiers fighting for their country, and soothe the homesickness of several generations of Chinese people who are alone in a foreign land. Appreciating this song, a noble emotion of loving the motherland and hometown arises spontaneously. With the popularity of the song 'My Motherland', this' great river 'has become a special emotional bond, imprinted with the unique patriotism of the Chinese people. It can be seen that aesthetic education practice is not only a process of enhancing individual humanistic literacy, but also an important way to shape collective values and build a shared spiritual home. In the digital age, aesthetic education provides new ideas for promoting Chinese culture and telling Chinese stories well in the new era. Virtual reality, augmented reality and other technologies have created an aesthetic experience of "virtual presence", breaking the temporal and spatial limitations of traditional aesthetic education. The immersion brought by this technology can enhance students' emotional engagement, but at the same time, it may also lead to the disappearance of aesthetic distance. Therefore, the key to digital art education lies not in technology, but in "technology critique", helping students understand how media shapes perception and meaning, as well as the potential negative impacts it may have. In addition, digital technology has driven a shift from "cultural transmission" to "cultural interaction", making students co creators and disseminators of cultural content. Therefore, aesthetic education should cultivate students' cultural expression ability and cross-cultural dialogue ability in the digital environment. At the same time, the process of students processing traditional cultural elements through digital tools is also a process of reinterpreting and constructing cultural meanings, which helps to enhance their sense of identity with their own ethnic culture. For example, the game "Black Myth: Wukong" quickly became popular on the internet, triggering deep reflection on the dissemination of traditional culture in various sectors of society. Positive games have aesthetic characteristics. Through character selection and story progression in the game, unconsciously, the traditional culture represented by "Wukong" quickly became popular among different cultural groups. The aesthetic elements of imitation, character creation, and empathy in the game deepen players' understanding and identification with the game content and its ideological core. Inspired by this, aesthetic education teachers should help students understand the various construction functions of aesthetics in aesthetic practice, and tell Chinese stories well in conscious application, showcasing trustworthy, lovely, and respectable Chinese images. Cultural identity is not a given label, but a dynamic process formed through continuous aesthetic practice and cultural dialogue. The mission of aesthetic education in universities is to provide ideological resources and practical fields for this process, and to cultivate creative individuals who have both cultural heritage and are capable of facing the future through the joint action of tradition and innovation. (New Society)