Abstract: Auspicious omens are an important issue in the academic research from the Pre-Qin Period to the Han Dynasty,and aesthetics is no exception. Auspicious omens were formally formed based on the concept of the “Nature and Human” in the Han Dynasty,and as an “image”,it should be interpreted as “Image of the Nature and Human”. From the perspective of the history of the Han Dynasty,the auspicious image is fully manifested in three dimensions including time,space and etiquette:Firstly,the auspicious image is the main hallmark of the time or historical narration of the Han Dynasty,providing the history of the Han Dynasty with the characteristics of imagination and aesthetics. Secondly,in the spatial experience,the auspicious image involves both the parallel dimension (site selection of the capital,the naming of palace,structural decoration,etc.) and the vertical dimension,that is to present its own mobility between the Nature and Human through high-rise buildings and suburban sacrifice poetry. Thirdly,the auspicious image is an integral part of the Fengshan ritual and the tribute system,thus constructing the concept of World (Tianxia) at that time. Finally,an aesthetic world with the theme of auspicious omens is presented,which not only contributes to the advancement of aesthetics of the Han Dynasty,but also provides a new clue for insights into the evolution of aesthetic thoughts in the Period of the Wei,Jin and Southern and Northern Dynasties,and later.

Key words: auspicious omens, image, aesthetics of the Han Dynasty, the history of Chinese aesthetics