艺作为技与道的游戏--庄子艺术美学发微  

Art as the Play of Skills and the Tao--An Exploration of Zhuangzi's Artistic Aesthetics

作　　者：罗双 LUO Shuang(College of Fashion and Art,Hubei Institute of Fine Arts,Wuhan 430205,Hubei)

机构地区：[1]湖北美术学院时尚艺术学院,湖北武汉430205

出　　处：《美育学刊》2024年第6期65-71,共7页Journal of Aesthetic Education

基　　金：国家社会科学基金一般项目“中华美学尚‘无’精神研究”(23BZX046)、湖北省社会科学基金一般项目(后期资助项目)“‘以道观之’:存在论视域下庄子美学的逻辑构架与历史转化研究”(HBSKJJ20243112)的研究成果。

摘　　要：在庄子美学中,艺一方面与技混为一谈,另一方面又寄托着道。在庄子的寓言中,工匠不仅展示了艺术的技巧,而且谈论了体道的经验。技确保艺术能够实践,道引导艺术走向自由。由于技与道的游戏,艺术虽然属于技的活动,但是像道一般运作。这样的话,艺术就远离了人为,而接近于自然。从这个意义上来说,艺术活动大巧若拙。技艺通过自身的经验,把隐蔽的道带入场中。只有作为得道者现身,工匠才称得上艺术家。In Zhuangzi's aesthetics,art is mixed with skills on the one hand,and on the other hand,it embodies the Tao.Likewise,craftsmen not only demonstrate artistic skills,but also discuss the experience of Tao in Zhuangzi's fables.In fact,skills ensure that art can be practiced,while the Tao guides art towards freedom.Due to the play of skills and the Tao,art operates like Dao,though it belongs to the activity of skills.As a result,art moves away from human intervention and closer to nature.In this sense,artistic activities are self-defeating,and skills bring hidden paths into the field through their own experience.Only by appearing as the enlightened can craftsmen be called artists.

关 键 词：庄子美学 艺 技 道 游戏 

分 类 号：B223.5[哲学宗教—中国哲学] B83-0