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; The western research on aestheticism of Oscar Wilde is almost at the same time as the writer’s creation of his first work. Before 1950s, the studies of Wilde had mostly centered on his personal life and most focused on his homosexual entanglement. In the 1960s and 1970s, the study of Wilde involved the textual analysis and the critics associated his aesthetic theory and works with his particular era and the contemporary culture.
　　　One hundred years after Wilde’s death, there was a climax in Wilde studies in the field of literary and art. From then on, the world understood Wilde in the new and diverse perspectives and great improvement were made in width and depth. His novels and dramas were researched by many scholars all the time throughout the world.
　　　However, his fairy tales were relatively overlooked. According to Shillinglaw’s statistics, there was no essay on his fairy tales in Critical Essay on Oscar Wilde which is a significant collection of sixteen republished and original classic essays on Wilde’s works. Rediscovering Oscar Wilde, another significant collection, containing thirty-seven conference papers connected with Wilde, did not include any essay that deals with Wilde’s fairy tales.
　　　Compared with the superficial commentaries in the newspaper in the first years, in the following years some books that translated and presented Oscar Wilde’s fairy tales were published, and also there were books mentioning Oscar Wilde’s fairy tales.
　　　
After 1970s, abundant theses appeared one by one, such as The Moral Prerogative in Oscar Wilde: A Look at the Fairy Tales by John Allen Quintus in1977, The Language of Allegory in Oscar Wilden’s Tales by Maria Edelson in 1988, An Immodest Proposal: Rereading Oscar Wilde’s Fairy Tales by Carol Tattersall in1991, and Oscar Wilde: Victorian Fairy Tales and the Meaning of Atonement by Elizabeth Goodenough in 1999. They all represented the high level of the studies on Wilde’s fairy tales in their ages. (Zhu Chuanfang, 2011:2)

　　　In China, scholars’ studies on Oscar Wilde’s fairy tales can be dated back to the first decade after Wilde’s death. From the beginning of the 20th century to the end of 1940s, the studies were mainly based on the translation of Wilde’s fairy tales. In 1909, Zhou Zuoren spoke highly of Wilde’s fairy tales and translated The Happy Prince into Anle Wangzi. In 1930s, Wilde’ fairy tales were translated by Mu Mutian and published by Tai Dong Publishing House. In 1940s, Ba Jin translated Wilde’s nine fairy tales into Chinese and entitled The Collection of the Happy Prince, and it was published by Culture&Life Publishing House in 1947. From 1980, great progress was made in both translation and commentary. The most popular translation of Wilde’s fairy tales was The Collection of the Prince which was reprinted by Sichuan Publishing House in 1981. Ba Jin’s translation was also chosen into The People’s Complete Works of Oscar Wilde which was published in the beginning of the 21st century by China’s Literature Publishing House.