| Preface:Jauss's and Iser's Esthetics Reception theory's emphasis on readers and aesthetic experiences and the practical acceptance of Chuang Tzu in Ming Dynasty is the theoretical basis of this thesis, and the insufficiency of the research on the acceptance of Chuang Tzu and of Ming Dynasty gives positive meanings to the thesis. The thesis has two threads, one is vertical and the other is horizontal, with which Chuang Tzu is studied from an aesthetic angle about its development, which falls into two stages,i.e. early and late Ming Dynasties, and three horizontal aspects,i.e. literature, noted versions and rational explanations. Chuang Tzu's literary research is carried out from three ways. It explores Chuang Tzu's ideas implicated in literal works, literarily advocates the acceptance of Chuang Tzu's aesthetic ideology and of its artistic characteristics at artistic level. As for the annotation works, te research of Chuang Tzu's meaning is abandoned, and the aesthetic acceptance of Ming's people in their literal comments on Chuang Tzu is the emphasis of the study; at the rational level, the comments of people in the Ming Dynasty on Chuang Tzu's articles and their analysis on Chuang Tzu and his works is taken as very important. This thesis, while carrying out both the vertical and the horizontal acceptance research of Chuang Tzu, investigates the relations between Zhuang's acceptance in Ming Dynasty and other factors such as regional cultures, thought waves, scholars' mind-set and secularization, as well as writers' personal experiences, knowledge structure, aesthetic taste, in the hope of forming a new idea and systematic understanding of Chuang Tzu's acceptance in Ming Dynasty.Chapter one:the research of acceptance of Chuang Tzu in early Ming Dynasty. This chapter investigates Chuang Tzu's acceptance in the period from Hongwu to Chenghua. As for the literary, rational and annotation works, there is hardly any work of early Ming among the existing annotation books of Chuang Tzu, and the direct acceptance of Chuang Tzu is rarely seen in dramas or novels. Therefore, this chapter pays attention to Chuang Tzu's acceptance research in poems and essays in early Ming. Regionalism is the major feature of Chuang Tzu's acceptance in early Ming, so this chapter carries out an overall analysis from both macroscopically and microscopically.Regional cultures of early Ming and Chuang Tzu's acceptance research. Succeeding the Regional structure in late Yuan's literal circle, early Ming's literary circle has lots of local literary schools, and their acceptance to Chuang Tzu is regional, with the schools of Yue, Wu, Jiangyou and Minzhong's acceptance as the most outstanding. Yue's acceptance has three features, i.e. viewing on Chuang Tzu's thoughts with Confucius authentic ideas, literal rational comments on Chuang Tzu and the acceptance of Chuang Tzu during literary creation, and independent and innovative acceptance ideas of Zhuanzi. Its representatives are Liu Ji, Song Lian and Fang Xiaoru. Minzhong's acceptances of Chuang Tzu, as Minzhong's scholars are most hermits, have obvious hermit color, which is embodied in their attention to Chuang Tzu's making-life-secure and free spirit ideas. Wang Cheng's acceptance of Chuang Tzu is their representative. Wuzhong also has a big group of hermits, but they have a more pizazz style, and their acceptance of Chuang Tzu have more poet style, with Gao Qi as their representative. Jiangyou's scholars pay attention to both literature and morality with strong political centripetal force, so their acceptance of Chuang Tzu was featured with their scholars' taking Chuang Tzu as a method to cultivate their morality, with Liu Song as their representative. In Yongle times, Jiangyou School develop into Palace Literature, and its early writers' acceptance of Chuang Tzu show more easy and elegant taste, but as the political deterioration, their acceptance have a touch of terror and worry. Their representatives are Yang Shiqi and Li Dongyang.The research of Liu Ji's acceptance to Chuang Tzu.This section explores the acceptance of Chuang Tzu from three angles,i.e.ideas,art and fables.In ideas,with the frustrated experience ,Liu Ji basically agrees with the thoughts of Chuang Tzu,which includes futility, self satisfaction,peripateticism, life comforting, dream-like life, equality of things and so on.While the aggressive view of life lets him hardly approach the soul of Chuang Tzu,and converts Chuang Tzu into Confucianism. Chuang Tzu second only to Confucianism in Liu Ji's thoughts.In art,the acceptance of Liu Ji to Chuang Tzu embodies in two sides,i.e. the acceptance of Ping-dan Beauty which is developed from Chuang Tzu,and the acceptance of Qi-si Beauty which belongs to Chuang Tzu.The latter has three points:first,preference to ghosts and gods,animals and plants subjects and the adaption from historical subjects.Secondly,the acceptance of Qi-si Beauty which belongs to Chuang Tzu.Thirdly,the peculiar of the writing manner and the leitmotrv.In fables,Yu Li Zi inherits the fable-creating tradition of Chuang Tzu,that is read meanings between lines.And this kind of acceptance is also reflected on ideas,style,,structure mode,the way of discourse,the adapted subjects,sentences and the classical allusions of Chuang Tzu. The research of Gao Qi's acceptance to Chuang Tzu.This part analyzes the acceptance to Chuang Tzu of Gao Qi from four sides:form,ideas,art and life pattern,and the reasons why Gao Qi accepts Chuang Tzu.In form,Gao Qi quotes the words and sentences of Chuang Tzu and the allusions using is wide and flexible,which includes direct,melt-using and succesive citations.In ideas,it is composed of the sense of worth of life, life comforting and spiritual realm.In the aspect of the life sense of worth,Gao Qi accepts Chuang Tzu's thoughts about the natural life state,life securing and the freedom and transcendence of life.In the aspect of the life comforting,Gao Qi accepts it which based on nature and peripateticism.Meanwhile,Gao Qi is not controlled by destiny,he emphases on subjective endeavour.In the spiritual realm,Gao Qi approves the absolute spiritual freedom,and especially the void and quietness of Chuang Tzu.In art,the subject of fairy and landscape and the Qing-yi-natural Beauty is the embodiments of Gao Qi's acceptance to Chuang Tzu.Gao Qi's fairy poem not only inherits but also breaks through Chuang Tzu.The inheritance of Chuang Tzu consists of the longlived and healthy gods,the extraordinary powers of the gods to fly freely in the sky and to struggle against the reality full of darkness. While the secularization and the popularization of the gods is the breakthrough of Chuang Tzu.Gao Qi creats landscape works with a pure aesthetic ideology,which characteristic is the fusion of the emotion and scenery,and the no subject artistic conception.On the other hand,the sense of individual and life form a obvious subject in the works is the apparent breakthrough of Chuang Tzu.The style of Gao Qi's poem is variety,the Qing-yi-natural Beauty is the outstanding embodiments of the acceptance of Chuang Tzu,which includes the beautiful and natural scence,pure and refined emotion and the accurate and polished words.In which the detached and simple view of life,the importance attached to the freedom and the void and quietness is reflected.The esthetic preference to Li Beauty is the breakthrough of Chuang Tzu's Ping-dan and rusticity Beauty.In the artistic life pattern,the alienation from politics,the idlesse and the pure aesthetic poem writing represents the acceptance of Gao Qi to Chuang Tzu.Gao Qi pays high attention to the literature creation,and approaches the core of the art.At the same time,Gao Qi's life and individuality full of artistic:pursue and defends the absolute spiritual freedom.So the life of Gao Qi reaches the artistic life realm which is made by the Dao of Chuang Tzu.The reson why Gao Qi accepts Chuang Tzu in such ways is closely related with the commercial, cultural and life tradition of Wu region.The summary of chapter one:the characteristics of the reception in early Ming,i.e.the main reception is in writing field;the reception of Chuang Tzu and the development of literature is in the same rhythm;the regionalism is obvious,and deeply influenced by Song Academy;the literati pays more attention to the life philosophy.Chapter two: the research on the acceptance of Chuang Tzu in late Ming Dynasty(part one). This chapter investigates Chuang Tzu's acceptance in the period from Hongzhi to Chongzhen in fields of poem and essay. In the light of the great influence of the Philosophy of Heart in late Ming Dynasty,and the positive reception to Chuang Tzu in the writing of the scholars of the Philosophy fo Heart,this chapter will discuss the study of the reception of Chuang Tzu that is made by scholars of the Philosophy of Heart ,and Chen Xianzhang is the representative.In view of the numerous schools in the field of the poem and essay,this chapter proposes two concepts,i.e."the classical school"and "the school of disposition",which based on the comprehensive classification of these schools.With the comparion of the reception of Chuang Tzu between these two schools,a macroscopical viewpoints of the reception of Chuang Tzu in fields of the poem and essay are obtained.Wang Shizhen and Yuan Hongdao are the representatives of the two big schools respectively.The study of the reception of Chuang Tzu which made by the scholars of the Philosophy of Heart.There are two persons in the scholars of the Philosophy of Heart who are both tightly related with literature and the Philosophy of Heart,that is Chen Xianzhang and Li Zhi.The acceptance of li Zhi to Chuang Tzu mainly embodies on the Innocent Mind Theory which inherits the esthetic ideology of Chuang Tzu.And this point will be discussed in section two of this chapter.This part explores the acceptance of Chuang Tzu in the poem writing of Chen Xianzhang who regards the poem as a way to illuminate his philosophy.And it consists of the acceptance of Chuang Tzu's ideas and the similar style of the poem of Chen Xianzhang with Chuang Tzu.In ideas,the acceptance of Chen Xianzhang to Chuang Tzu is made up of ontology of Dao,the ways to approach Dao and the emphasis laid on the nature.In style,a Kong-ling-piao-yi Style is created by the fusion of which includes the fresh and natural meaningful images and the super philosophy;exaggeration,imagination,metaphor and so on creat a romantic and Xiong-qi Style which reflects the inheritance of the article style of Chuang Tzu.The research of the acceptance to Chuang Tzu which made by "the classical school"and "the school of disposition".The thesis brings forth two schools i.e. "the classical school"and "the school of disposition",which based on the main theory of the numerous schools in the fields of the poem and essay and the complicated acceptance of Chuang Tzu in late Ming Dynasty.In general,the subject of this two schools is the southern literati.And the beauty of vigorous and integral,natural,superlatively real and simple manifests the acceptance of Chuang Tzu in the literatural viewpoints theory.The differences between the two schools lie in the acceptance of the ideas and literature of Chuang Tzu.In ideas, the acceptance of "the classical school"to Chuang Tzu is a kind of introverted and sequestered acceptance. And they transform Chuang Tzu into utility by Confunism. The acceptance of "the classical school" to Chuang Tzu goes along with the tradition. While the characteristics of the acceptance of "the school of disposition"to Chuang Tzu is extroverted and personal,embody more innovations.Thesis analyzes the inheritance and breakthrough of the acceptance of" the school of dispositk)n"to Chuang Tzu from the reality Beauty,which is a kind of literal viewpoints.The Reality is a philosophical concept with detached quality,which used to describe the natural state.While in the ideology of the school of disposition",the Reality is an concept of literature that has specific subject.The agreement is approached in the natural state of the emotion,and "the school of disposition"pays more attention to the the reality of the concept of the Reality.Under the the Reality esthetic concept,the breakthroughs are embodied in the different attitude towards the emotion and the appetite between "the school of disposition"and Chuang Tzu. Chuang Tzu denies the appetite,and partly agrees with the emotion,but lead it to dan-ran-ping-he tendency. "The school of disposition"approves the appetite and appreciates the strong emotion,which is the breakthrough of the acceptance to Chuang Tzu.In literature, "the classical school" makes more efforts than"the school of disposition",so the research on the literariness of Chuang Tzu is deeper than the latter.As analysing the phenomenon and summarizing the rules of the acceptance of Chuang Tzu,we also explore their respectives underlying reasons.The research of Wang Shizhen's acceptance to Chuang Tzu. Wang Shizhen is the representative of "the classical school" in the acceptance to Chuang Tzu,of which the ideas,the rational explanations and the embodiment of the acceptance to Chuang Tzu in the writing are included.In ideas, it consists of the complex of phoenix,the yearning towards Utopian world and the attention to the individual.In the rational explanations,there are three aspects i.e.the evaluation of the Chuang Tzu and his articles and the reflection about the perspectives of Chuang Tzu in history. In the embodiment of the acceptance to Chuang Tzu in Wang Shizhen's writing,Wang Shizhen inherits the critical spirits and the strong critical writing in the early time and after the frustrated life,Wang Shizhen lays particular stress on the detached ideas of Chuang Tzu and the development to the disposition of his literature viewpoints and the writing and the transform to the literatural style.The research of Yuan Hongdao's acceptance to Chuang Tzu. Yuan Hongdao is the representative of "the school of disposition"in the acceptance to Chuang Tzu,of which the angles of the fusion of the Confucianism,Buddhism and Taoism and the leisure life attitude are included.The former reflects the influence which is brought by the cultural trends of the fusion of the Confucianism,Buddhism and Taoism to the intellectuals.And in the aspect of the acceptance of Yuan Hongdao to Chuang Tzu,it embodies in four ways,i.e.using the allusions of Chuang Tzu as itself,by the Confucianism and noting Chuang Tzu by the Confucianism and the Buddhism And the latter is an innovation which is the reflection of the acceptace of "the school of disposition"to Chuang Tzu under the influence of Philosophy of Heart.It is the individuality of Yuan Hongdao's acceptance to Chuang Tzu in caring more about the life of himself and the secular colour.Chapter three: the research of acceptance of Chuang Tzu in late Ming Dynasty(part two).In this chapter,the thesis studies the acceptance in the fields of annotation works and dramas and novels.In the field of the annotation works of Chuang Tzu,a large numbers of annotation works of Chuang Tzu appearing in late Ming Dynasty,is the inheritance of the research ways that used from Tang and Song Dynasty.On one hand,they put stress on the meaning comments,which is from the angle of the fusion of the Confucianism,Buddhism and Taoism.The annotation works of Chuang Tzu in Ming Dynasty treats Chuang Tzu as the Confucianism,the Buddhism,the Taoism and itself.While in pratical,the four kinds of situations exist in the same works.On the other hand,the esthetic comments on Chuang Tzu are cared.The Ming intellectuals inherit and break through the annotation works of Chuang Tzu in Song Dynasty,and these works are the basis of the essay research of Chuang Tzu in Qing Dynasty.Nan Hua Zhen Jing Fu Mo written by Lu Xixing and Zhuang Zi Nei Pian Zhu written by De Qing who is a Buddhist,are the representatives in this side.The thesis choose Nan Hua Zhen Jing Fu Mo written by Lu Xixing as the delegate.The research on the acceptance of Nan Hua Zhen Jing Fu Mo written by Lu Xixing to Chuang Tzu.This section explores the theme,the key,the thread of the article and the writing manners and the evaluation about the esthetic characteristics of Chuang Tzu.A stong integral consciousness is emphasized in the study of the theme and the thread of the article,which embodies in three sides,i.e.the emphasis on the theme,the viewpoints of the relationship between Nei Section and Wai and Za Sections,and more attention to the phenomenons of the meaning cohension between the former and the latter. It is Yan-Mu namely the key that Fu Mo using to analyze the theme and the thread of the article of Chuang Tzu.The analysis of the writing manners of Chuang Tzu focus on the commerntary of the essay such as Xiao Yaoyou,Qi Wulun and Yang Shengzhu,and other similar words,on which the theme of Chuang Tzu is emphasized.For the latter,it can be concluded into four aspects,i.e.the wonderfull quality,the drawing sense,the emotion and the taste.In the wonderfull quality,Lu Xixing pays more attention to the wonderfull words,and the extraordinariness of the grammar,the syntax and the conception is also concerned.The feeling of the art brought by the wonderfull quality of Chuang Tzu is conveied too.In the drawing sense,Lu Xixing pays more attention to describe the image and it's expression and appearance and the environment.In emotion,the merging of the indignation and the scorn is included in the complicated emotion on which is laid more stress by Lu Xixing.In taste,Lu Xixing analyzes Chuang Tzu from two ways,i.e. the esthetic characteristic of the object and the esthetic activity and experience of the subject.The research of the acceptance to Chuang Tzu in the field of the dramas and novels.The existed dramas and novels which choose Chuang Tzu as subject mainly appear in late Ming Dynasty.And the literati stylization and the secularization is the characteristic of the acceptace of these works to Chuang Tzu.The secularization is reflected in the option,adapting and the plot recreation of Chuang Tzu,the demotic language and the secular image of Chuang Tzu.This aspect caters to the habitual acceptance and the secularization,curiosity and amusement of the masses.The literati stylization embodies in two sides,i.e.the image of Chuang Tzu with the literati stylization and the esthetic re-creation of the ideas of Chuang Tzu.The secularization and the literati stylization is existed in the same works.The secularization enriches and develops the acceptance to Chuang Tzu,while the literati stylization which is the opposite to the secularization orientates the acceptance to Chuang Tzu towards the tradition of the literati.The secularization and the literati stylization in the different works,time segment and style are in various degrees.The summary of chapter two and three: the embodiment of the characteristics of the acceptance to Chuang Tzu are as follows:the main subject of the acceptance to Chuang Tzu is southern literati;the acceptance of Chuang Tzu in the realm of literature is flourish;the run up of the annotation works is the obvious feature in late Ming Dynasty;the relationship between the acceptance to Chuang Tzu in late Ming Dynasty and the Philosophy of Heart is close and complicated.Summary: the rules of the acceptance of Chuang Tzu,i.e.the tendency of Ming Dynasty displays the state of low in the former and high in the latter;the literature, noted versions and rational explanations develop into multivariate;the dynamics is the feature of the acceptance of Chuang Tzu in Ming Dynasty.In this summary,it also treat two themes,i.e.one is the condition of the prevalent acceptance to Chuang Tzu,and the other is the changing role of Chuang Tzu that plays in the spiritual world of the literaties in late Ming Dynasty.
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