| This dissertation applies the modern becoming theory and the new view of inneraesthetic to focus on the thesis of Lao-zhuang's life realm, and want to dissolve theproblem of transformation between life realm and aesthetic realm. The traditional theory of life realm hypothesizes the ready-made existence of liferealm and then to discus the rank of it. Under this mode of thinking, varied thesis ofhighest realm come into being, such as Fang youlan's universe realm, Li zehou'saesthetic realm, Zong baihua's and Fang dongmei's religious realm, Tang junyi'sConfucianism's realm, Qian mu's virtue realm, Xu fuguan's art realm, Chen guying'sDao realm, etc. Those highest realm thesis look like opposite, but there is a commonmode of thinking. We are perplexed that there is even not aesthetic realm in Fengyoulan's universe realm. This dissertation tries to break this mode of ready-made, andget a new recognition through exploring Lao-zhuang's realm. This paper contains four chapters. The first one is an introduction that offers abrief introduce about the history of life realm thesis, focus on the difference betweenDao-gained and virtue, which based on the difference of the becoming theory and theready-made theory. The second one is the theory basic and guide thought of this dissertation thatadvances inner aesthetic, a new theory, and proves it's nature, characteristics, andsignificance, exposes the dual character of meaning becoming, explores the typicalinner aesthetic nature of Lao-zhuang's life ream that dispels form, color, voice andname, and finds the inner aesthetic mechanism of their realm thereby. Through thecomparison between Lao-zhuang's realm and Kant's sublime it emphasizes thecertitude of inner aesthetic realm becoming. The third and the fourth are main body of this paper. At first, through exploringLaozi's realm that is a unity of Dao and gaining Dao/Dao-gained shows LAOZI1'sbecoming realm, it's structure feature and the function of it as Chinese aestheticintelligence gene pedigree. From here, Laozi's inner aesthetic realm features arerevealed: that consisted of personality mode and non-form inner aesthetic unity ofvoid and quietness, vision of the Mystery, impalpable-incommensurable sense; theideal beauty of "inactive but everything can be activated"; beauty's value decided bybecoming of life realm. All of becoming mechanisms that from Laozi's life realm toaesthetic, such as mechanism of unity function, structure becoming, personality ideal, iiiinner aesthetic, realm rule, etc. are revealed henceforth. This chapter gets twoimportant conclusions through textural research to "Every one under Heavenrecognizes beauty as beauty, that the idea of ugliness exists" and "inactive buteverything can be activated" that the "beauty" is transformed with Laozi's realm andthe Chinese "而" means "but" and this "but" express the aesthetic realm. The fourth chapter compared Laozi's realm with Zhuangzi's realm, pointed outthat firstly Zhuangzi develops Laozi's aesthetic thought in such aspect as he hasnamed Daode as Dao and gaining Dao or Dao-gained, and has developed Laozi'saesthetics in realm structure, personality ideal, inner aesthetic, freedom realm, theunity of great beauty with common beauty. Secondly, Zhuangzi creates his own fieldby himself. He faces the dilemma between Dao and art but puts the non-formed Daointo visible and imaginable art and completes the combination between inner aestheticand sense aesthetic firstly in Chinese aesthetics history, and switched on the historicalfloodgate for art thus. This chapter reveals the reason of Zhuangzi'sphilosophy-poeticized and the function of aesthetics, and thinks that the literarymethod is one of mechanisms to change life realm to aesthetic realm in ZHUANGZI2,Zhuangzi and Laozi mutually produce each other. It systematically analyses...
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