藝術傳播的古代原型是作為神與人中介（Hermes）的雙向傳達。古今傳播側重方向不同。古代傳播向上維度的精英壟斷、神聖孤獨與深度時間性被現代傳播向下維度的大眾化、感性娛樂與空間化的群體無意識取代。藝術品的技術複製、同步傳播與集體接受成為藝術關係的現代模式，個體生命的藝術品及其傳播被迫異化為天價收藏。藝術傳播的現代性機制及其特性均根源於現代性處境，其中嚴重的問題是對藝術傳播與國家公權關係限制之闕如。現代性袪魅及其功能分化性造成現代公共領域形式化，藝術審美魅力遂成為現代公共精神的特殊替代品。商業消費與時尚明星文化，以及意識形態政治對藝術公共能量的汲取，成為藝術傳播畸形擴張基礎。二十世紀極權主義利用藝術傳播的教訓表明，藝術傳播需要與「政教分離」一樣的「政─藝分離」。為此需要反省審美救贖主義思潮。

The ancient archetype of communication of arts was the interactive transmission between gods and the human beings. The communication of arts focused different directions in the ancient times and the modern times. The elite monopoly, the holy loneliness and the deep timeliness in the ancient communication on the upper dimension were replaced by the popularization, the sensitive entertainment and the unconsciousness of the crowd in the modern communication on the lower dimension. The technical reproduction, the synchronous transmission and the collective reception had become the modern mode of artistic relationship. The art that owned its individual life had to be alienated in the whopping price collections. The modern institutions and its characters of communication of arts were originated in the context of modernity. The most serious problem was the lack of limits for communication of arts. Because the enchantment of modernity and its differentiation of functions caused the formalization in the public sphere, artistic aesthetic became the special substitute for the public spirit in the modern times. The commercial consumption, the modern star culture and the political ideology absorbed the public energy of arts, so they became the basis of the abnormal expansion of communication of arts in the modern times. The lesion that the totalitarianism utilized arts in the 20th century revealed, the communication of arts should separated art from politics. That was the reason why we reflected the aesthetical soteriology.