The “life turn” has become an inevitable trend of contemporary aesthetic research. As the inevitable result of the development of contemporary aesthetics, it is not only a new aesthetic form, but also a new way of life. Whether it is Husserl’s “lifeworld,” Wittgenstein’s “forms of life,” Lefebvre’s critique of everyday life, Shusterman’s “performing live,” or the “life aesthetics” under heated discussion in Chinese aesthetic circles at present, the main problem of these various forms of aesthetics of life is that they fall into the false trap of the ideology criticized by Marx — either confined to the life hermeneutics at the level of rational speculation or reduced to the microindividualism divorced from social and cultural reality. Marx, on the other hand, based on practice and aiming at transforming the world of life, pointed out a life aesthetics direction widely different from the above theories. Therefore, only by returning to Marx’s aesthetics of life, can we get out of the problem circle of the current life aesthetics research. Marx’s study of aesthetics of life is, as it were, not only a theoretical response to the current life turn of aesthetics from the perspective of Marxist aesthetics, but also an active attempt to construct the current theoretical system of Chinese aesthetics.