庄子“无言之言”的言说策略与审美意蕴

An approach to Zhuangzi's solution to the problem of “Tao” can't be said and it's aesthetic meaning

庄子基于语言表达难以穷尽"道"之真义而提出"无言之言"的言说策略,强调一种随性自转、自性自适、自然无心之言,既不可执著于有形之物,也不可执著于绝对无象。"无言之言"呈现为一种审美生存方式,而非对语言的工具性、客观性利用;凸现出美的言辞决不是美本身,于创作、体验与欣赏过程中生发出鲜活的、生成性的言外之意,才是真正实现审美活动的标志。这种特有的言意观为庄子美学造就了开放、自由、无限的话语意蕴空间,对传统文论"言约旨远"、"无中生有"审美精神的形成奠定了基础。

In Zhuangzi, language expression can＇t totally express the truth of ＂Tao＂, therefore, there is a solution of ＂no language of the language＂ to emphasize a randomly, self-satisfied, unintentionally language. The particular word and meaning theory not only brought up an open, freedom, and unlimited language meaning space, as the poetic language infinitely approach the more profound meaning space to a top state of harmonious relation between object and self, but also has the deep foundation role on the aesthetic spirit about ＂simple words but profoundness＂ and ＂create out of thin air＂ of Chinese nation.