On New Exploration of Zhuangzi's Artistic Spirit

碩士 === 國立成功大學 === 中國文學系 === 102 === The purport of this paper want to illuminate the problem of the different between the morden hermeneutics in the “Aesthetics of zhuangzi “(《莊子》美學)and the” Aesthetic effects by Zhuangzi“(受莊子影響的美學).Starting from here, we tried to clarify the Zhuangzi ideological con...

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Bibliographic Details
Main Authors: Chia-LingLee, 李嘉玲
Other Authors: Hai-Yen Yeh
Format: Others
Language:zh-TW
Published: 2014
Online Access:http://ndltd.ncl.edu.tw/handle/21359093778215066145
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Summary:碩士 === 國立成功大學 === 中國文學系 === 102 === The purport of this paper want to illuminate the problem of the different between the morden hermeneutics in the “Aesthetics of zhuangzi “(《莊子》美學)and the” Aesthetic effects by Zhuangzi“(受莊子影響的美學).Starting from here, we tried to clarify the Zhuangzi ideological constraints into two difficulties: one is in the interpretation of the aesthetic to the Zhuangzi thought in the interpretation of the study of modern aesthetics; another, finding the possibility of historic reconstruction and fusion of horizons in different generation of Zhuangzi. This is the purpose of writing this article. The discussion of text into three divisions: first of all, pointing out the research of aesthetics involving the artistic spirit of Zhuangzi began from Xu Fuguan’s presumptions. However, we might ask whether or not Zhuangzi possesses aesthetic consciousness? In the Chapter II, we discusses the concept of “Xin zhai” (心齋) in Zhuangzi’s discourse of cultivation, specifically how wu ting zhi yi xin er ting zhi yi qi (无聽之以心而聽之以氣)involves the three levels of transformation in body, mind, and Qi. The writer wants to explore and initial definition, from mind to Qi, some conceptual and interpretive changes of the inner Chapters in Zhuangzi text. From the discussion of the Way to Dao(道), we discuss and analyze the difference from the Qi and summarize Zhuangzi’s experience of the Dao. Through Zhuangzi’s interpretation in the state of the experience of perception of Dao, we point out the process of the forgetting and roaming involving the Way of cultivation and what maybe is the Zhuangzi’s aesthetic spirit. Into the Chapter III, we focus on the question about whether or not the Zhuangzi involving the aesthetic thought. That we analysis the different in the relationship between the Zhuangzi’s thought and the western esthetician issue. The debate focus on the interpretation in the Chinese earlier period of 20th century: Zhu Guangqian used Lipps 's Empathy in aesthetic theory that perception will be isolated linked the perception of wuhua”(物化); and then lead to the unsuitable interpretation of Xu Fuguan for the Debate on Zhuangzi and Hui Shi in the“Aesthesia of Whether or not Fishes be Happy in?.We try to discriminate the different between Lipps 's and Zhu Guangqian's theory sects, and point out the interpretation of isolated activities of Western aesthetician is different from the original concept of “Zhuangzi”. Regard to this opinion, we expound the different between Xu Fuguan’s interpretation and Zhuangzi’s thought. Go into the Chapter Ⅳ, many of the clues of“aesthetics of Zhuangzi“ had been getting mature and obvious in the previous chapters. Now we explore the later generations, from the pre-Qin to the Wei-Jin Dynasties, the evolvement in the interpretation of different dimensions of “Zhuangzi”. Owing to this cause, we choose the research methods of Liu Xiaogan, PhD. who are distributed “Zhuangzi” into: inner, outer and miscellaneous chapters. According to PhD. Liu’s theory, the writer summarizes the frequency of the key concepts about “Shen”(神), “Xing”(形) “Qi”(氣)appear in the book of “Laozi”(《老子》), “Zhuangzi”(《莊子》), “Guanzi”(《管子》), “LüshiChunqiu”(《呂氏春秋》), “Hanfeizi”(《韓非子》), “Xinshu”(《新書》), “Huainanzi”(《淮南鴻烈》)and signify clearly the evolvement process of Zhuangzi concept .Through ours analyzes, which deals with evolvement of zhuangzi the thought in later generation's interpretation, we summarizes the previous chapters and offers an overall Tables of the main ideas. In particular, we want to differentiate the sects between the painting theory: GuKaizhi’s”chuan shen xie zhao”(傳神寫照)and Xie He’s“qi yun sheng dong”(氣韻生動), and then, return to compare the different between“Aesthetics of zhuangzi” and the”Aesthetic effects by Zhuangzi“. Through the way of argumentations in its evolving internal and external investigation, the writer gets the preliminary conclusion in the basic problems of contemporary aesthetics and fined the predicament and possible orientations in the modern interpretation of Zhuangzi. And finally, we summarized them into the ChapterⅤand briefly drew the conclusion from the previously debates.