The Artistic Dimension Of Zhuangzi's Aesthetics

Zhuangzi is a great philosopher.He used the universe in “Tao” to build the cosmology and ontology in Zhuangology.As far as Zhuangzi's philosophy is concerned,it is the unity of Zhuangzi's artistic life and the universe,and it is also the origin of Zhuangzi's artistic spirit.Zhuangzi's artistic spirit is very important for the study of traditional Chinese aesthetic theory.Because,Zhuangzi not only built a unique philosophical system with his wonderful thoughts,but also the aesthetic thoughts and artistic spirits derived from philosophical thoughts had an important impact on the development of later literature and art theories.Whether in traditional Chinese literary theory,painting theory,or music theory,we can all find the figure of Zhuangzi's aesthetics.It can be said that the uniqueness of artistic spirit in Chinese traditional art theory is precisely because of the existence of Zhuangzi's aesthetics and artistic spirit that it shows the charm and outstanding characteristics.This dissertation takes the art in Zhuangzi's aesthetics as a research perspective,with a view to clarifying the connotation and extension of Zhuangzi's artistic spirit from the level of "Tao".Trying to use the "Tao" on the philosophical level and the "Tao" on the aesthetic level as clues,through the exploration of the dimension of Zhuangzi's artistic spirit,to sort out the subject and object in Zhuangzi's artistic spirit and the connotation and extension of his artistic spirit.The dissertation first clarifies that the subject of Zhuangzi's artistic spirit is the "empty and quiet" heart of a man.The subject is realized in the process of attaining the unity of the material and the self through "sit forgetting" and "heart fasting".It is concluded that the quiet mind is the subject of Zhuangzi's artistic spirit.And from the perspective of the unity of the Zhuangzi school of “things” and “I”,it is explained that Zhuangzi's theory is not a dichotomy between subject and object in the general sense,but is the aesthetic art process of Zhuang's theory which is finally completed through the interaction between the quiet mind and the self.Secondly,combing down from the "witnesses" of Zhuangzi's philosophy,life is artistic through the integration of the aesthetic subject and the spirit of the object,and the object of the artistic spirit also emerges at the historic moment.In Zhuangzi,the inner self-bringing mentality is bredwithin,while the outer boundless nature is reflected.In Zhuangzi's observation and appreciation of the beauty of aesthetic objects,the aesthetic object of Zhuangzi's artistic spirit is extended to be "loveful and faithful".After that,the core of Zhuangzi's artistic spirit,the natural beauty of Tao,was interpreted,and the generation of each dimension in Zhuangzi's artistic spirit was viewed from the reverse approach.Explain the core of Zhuangzi's artistic spiritual beauty from the great beauty,true beauty,prime beauty,and perfect beauty of the Tao of nature.Finally,through the interpretation of the technical transcendence of technology and the spiritual transcendence produced by the "empty and quiet" heart in Zhuangzi's artistic spirit,we can observe the current artistic creation.Thus,it is concluded that contemporary art creators need to regain their sense of quietness and not be burdened by foreign objects in order to better create art works.This dissertation studies from the level of Zhuangzi's philosophy to clarify the relationship between the "Tao" of Zhuangzi's philosophy and the "Tao" of aesthetics.From this,it is concluded that Zhuangzi's artistic spirit has two meanings.The second is that Zhuangzi's artistic spirit can also be viewed on the mentality of artistic creation.The subject and object of his artistic spirit are the subject and object of the artistic spirit of life and the subject and object of artistic creation.