“技进乎道”的审美现代性阐释——庄子与海德格尔如何由对立走向共通

The Interpretation of Aesthetic Modernity in "Ji/Skill Advancing into Daoism" ——How Zhuangzi and Heidegger go from Opposition to Consensus

庄子哲学中的"技"正中有反,对那些充满无目的性的、自由的艺术精神之"技"表示赞赏,而反对以世俗、功利性为目的的"技";而海德格尔笔下的"技"反中有正,反对以对人"有用"为标准的普遍强制去蔽行径的科技之"技",而将艺术之"技"作为拯救之"道"。源于对其中艺术性的"技"所呈现的"无用"和"游"的艺术精神的共识,二人由表面的对立最终走向实质的共通,并为当代反思和批判现代性对人生存处境所实施的迫害提供了一种新的解读,即"技进乎道"使人和一切事物达到自由自在、成其所是的境地。

There is the opposition in Zhuangzi's philosophy of Ji (literally meaning skill or art), which expresses appreciation for Ji that is full of aimless, free artistic spirit, and opposes Ji for secular and utilitarian purposes; Heidegger's Ji has the positive claim who opposes the technical Ji of universal coercive demasking based on the criterion of usefulness to human beings, and takes the Ji of art as the Daoism of salvation. Based on a common understanding of the artistic spirit of uselessness and uncertainty, they eventually reach to the real common from the external opposition, and provides a new interpretation for rethinking and criticizing the modernity, that is, how the modernity does great harm to human living conditions, that is to say, Ji / Skill advancing into Daoism enables people and everything to be free and become what they are.