庄子的“道进乎技”论——兼与“文以载道”相比较

Chuang Tzu’s Theory of Craft as Tao:Comparing with Words as a Vehicle of Tao

从老子以道去艺到庄子提出“道进乎技”,道家在肯定艺术生产性以后建构了技道关系论,分析技艺达道的条件与路径,这与儒家建构文道关系论形成对应性的发展态势。庄子的“道进乎技”论体现出三个层次的特质:就主体而言是“用志不分”,就表现对象而言是 “忘己入天”,就“道艺”而言是“何术之有”与具有音乐般的神秘、流畅与动人心魄。后世的文道论吸收了技道论的思想。

Lao Tzu proposed getting rid of craft in order to retain Tao while Chuang Tzu proposed that craft is Tao;Taoism confirms the productivity of art and constructs the theory on the relationship between craft and Tao, analyzing the condition and methodology for craft to approach Tao, echoing Confucianism’s construction of the relationship between words and Tao. Chuang Tzu’s theory of craft as Tao includes three layers of meanings: in terms of the object, it means devotion;in terms of the subject, it refers to “forgetting the self and merging into Nature”;in terms of the relationship between craft and Tao, it indicates “the absence of craft” and a mysterious, smooth, moving nature like that of music. The theories on the relationship between words and Tao inherited from the theory on the relationship between craft and Tao.