At present, the landscape of Chinese literature and art is undergoing a profound and dramatic transformation. With the widespread integration of cutting-edge technologies such as 5G, big data, and artificial intelligence into creation and dissemination, new popular art represented by online literature, online dramas, short videos, digital interactive art (including games), and immersive cultural tourism has broken through the boundaries of traditional popular art and grown into the most dynamic, radiating, and innovative component of contemporary Chinese cultural development. According to statistics, as of December 2024, the number of online audio-visual users in China has reached 1.091 billion, and the number of online literature users has exceeded 500 million. Behind these data is the structural change in the spiritual lifestyle of billions of people. At the same time, a key challenge is becoming increasingly prominent: current literary and artistic practices are at the forefront, while corresponding theoretical discourse still lags behind. In this context, constructing a localized new popular literary and artistic discourse system based on China's reality, with explanatory and guiding power, is not only an inherent requirement for the development of literary theory, but also a strategic task for building a socialist cultural power and consolidating national cultural security. Consolidate the people-oriented foundation of literature and art. The construction of Chinese discourse must first answer a fundamental question: whose art is the new popular art? The concept of "popular culture" in Western theory often implies a binary opposition between elites and the masses, viewing them as atomized, passive, and easily manipulated groups; The corresponding Western "cultural industry" critical paradigm regards popular culture as a standardized commodity produced on the industrial assembly line, condemning it as a homogeneous and fragmented "spiritual anesthetic" under the logic of capital. The logical starting point of the "new popular literature and art" in the Chinese context is the people. As General Secretary Xi Jinping emphasized, "Socialist literature and art are essentially the people's literature and art." In practice, the most prominent feature of the new popular literature and art is the complete breaking down of the barriers between creators and recipients. From the "chapter talk" interaction in online literature to the "universal integration of memes" on short video platforms, the people are no longer passive recipients of culture, but constantly present as "producers and consumers" in the cultural scene. Digital technology has significantly lowered the barrier to expression, allowing ordinary workers such as delivery drivers, factory workers, and field farmers to record their lives through cameras and text. This kind of grassroots, collective literary and artistic creation constitutes the most vibrant literary and artistic landscape at present. Therefore, in constructing the Chinese discourse of new popular literature and art, it is necessary to break away from the stereotypical assumptions of homogenization and mediocrity about the "masses" in Western theory, and closely adhere to the core category of "populism". It should be fully recognized that the new popular literature and art is an important field for the people, especially the youth, to express their emotions, engage in social communication, and construct meaning through digital technology in the new era, carrying fresh spiritual pursuits and cultural creativity. It inherits the tradition of literature and art taking root since the Yan'an Forum on Literature and Art, and has grown a kind of "co creation aesthetics" in the digital soil. This means that the new popular literature and art we want to explain is not a standardized product of the cultural industry, but a vivid expansion and prosperous manifestation of people's literature and art in the information age. Build an evaluation scale of "dual effect unity". Driven by digital technology, the new mass art is reshaping the contemporary cultural ecology and challenging traditional evaluation systems. We must be aware that relying solely on traffic and algorithms may erode the spiritual core and aesthetic character of literature and art. Therefore, it is urgent to establish a scientific evaluation system at the level of value theory that adheres to mainstream value orientation and respects market laws in order to construct a new discourse of popular literature and art in China. We must always prioritize social benefits and unify them with economic benefits. Specifically, efforts should be made in two aspects: one is to inject value orientation into technology. Excellent new popular literary works should not only attract people in form, but also have rich cultural connotations and ideological depth. The literary theory community should promote the establishment of an "algorithmic ethics" that adapts to this new form and new requirements. When evaluating works such as micro dramas and online variety shows, click through rates and completion rates should not be the only criteria, but should comprehensively consider their spiritual guidance, cultural heritage, and aesthetic value. The second is to integrate educational functions into entertainment. In recent years, a number of short videos promoting patriotism and inheriting excellent traditional Chinese culture have been widely popular, which proves that lightweight expression can fully carry the theme of heaviness. Our literary theory should delve into the contemporary integration of "conveying ideas through literature" and "integrating education with entertainment" in traditional Chinese literary theory, providing theoretical support for the creative model of "lightweight dissemination and heavyweight value". Extracting the paradigm of "Chinese aesthetics" in the digital age. The construction of Chinese discourse in new popular literature and art cannot be separated from the support of aesthetic methodology with local characteristics. In recent years, "China-Chic" has evolved from a consumption symbol upgrade to an aesthetic paradigm: from the digital representation of Chinese ancient buildings and mythical universe in the domestic game Black Myth: Wukong, to the innovative interpretation of traditional arts such as opera and intangible cultural heritage by virtual digital people, we can see that the Chinese aesthetic spirit is being creatively translated in digital media. On this basis, literary and artistic theorists should actively extract iconic concepts with academic rationality and explanatory power. For example, the category of "digital freehand brushwork" is different from the ultimate pursuit of "physical reality" in Western digital art. It focuses more on creating "psychological reality" and "artistic space", and uses traditional aesthetic techniques such as blank space, virtual real interaction, and vivid charm to convey Eastern poetry in the virtual world. This is not only a technological path, but also a reflection of cultural confidence in the aesthetic dimension. For example, the concept of "popular epic" can be used to explain common narratives such as fantasy and fantasy in online literature. Although these works have a fantasy shell, their spiritual core often carries traditional Chinese values such as "self-improvement" and "family, country, and world", which are actually "new myths" written by contemporary Chinese people. They respond to the collective emotions and life questions in the changing times through popular narratives, and through the construction of this concept, we are able to surpass the theoretical framework of Western "fantasy literature" and establish China's own typology and aesthetic standards. Create a Chinese narrative based on the common values of all humanity. New popular literature and art naturally have the advantage of spreading across borders and are important carriers for telling Chinese stories well. The fundamental reason why Chinese online literature, short videos, and micro dramas can be widely spread in southern countries and even European and American markets is not because of exotic customs, but because they touch on common human emotions and values, such as the longing for family reunion, the pursuit of fairness and justice, and empathy for growth and struggle. These elements transcend cultural differences and directly reach people's hearts. To construct the Chinese discourse of new popular literature and art, it is necessary to systematically study the internal mechanisms of the formation and dissemination of its emotional community, explore how to respond to the common spiritual dilemma of humanity through literary practice, and provide narrative solutions with Chinese cultural heritage. At the same time, on issues such as algorithm governance, copyright protection, and prevention of deepfakes, the Chinese theoretical community should actively voice their opinions and contribute wisdom, so as to integrate China's new popular literary theory into and lead global digital cultural governance. It needs to be clear that constructing the Chinese discourse of new popular literature and art is not about speaking for oneself, but about building on Chinese practice, interpreting Chinese experience, and establishing Chinese standards in the global digital cultural turbulence. Literary and artistic theorists should maintain a keen sense of reality and a firm cultural determination, delve into the "digital fields" such as live streaming rooms, game communities, and online forums, and extract theoretical achievements with dew drops and steam from fresh practice. Only in this way can we firmly grasp the interpretation power of new popular literature and art in our own hands, making it truly a literary and artistic calling card that conveys the Chinese spirit, showcases Chinese values, and showcases Chinese strength, and opens up unique aesthetic territories for creating new forms of human civilization. (New Society)