从中国古代工匠文化传统验证庄子“以天合天”的设计思想——兼论《周礼·考工记》“[钅豦]”的形制与功能

Verifying Zhuangzi's Design Philosophy of"Harmony between Artefacts and Nature"with Craftsman Tradition of Ancient China:With Specific Reference to the Appearance and the Functions of Ju"[钅豦]"in The Rites of Zhou:The Artificers'Record

《庄子·达生》“以天合天”的设计思想,必须结合《周礼·考工记》“梓人为筍、虡”的相关记载以及中国古代工匠文化传统加以理解与验证。“[钅豦]”是悬挂钟、磬之类大型组合乐器的木质结构,具有“承重”与“发声”的双重功能,雕刻猛兽作装饰,从而收到“击其所县而由其虡鸣”的美学效果。树木的原生形态与“[钅豦]”体装饰动物之间天然的相似性,尤能凸显其“拨尔而怒”的猛厉神态。这种“以天合天”的设计思想受到先秦儒家与道家的双重思想影响:一方面,继承与发展了中国古代“审曲面势”的工匠文化传统,亦遵循儒家“天工”与“人工”完美结合的“知者创物”思想原则;另一方面,也是老子“大制无割”的政治思想在造物活动中的逻辑延伸,而且与庄子“天地有大美而不言”的哲学有着更为密切的思想关联。

The design philosophy of"harmony between artifacts and nature"in Zhuangzi:Dasheng should be understood and verified according to"Ziren(carpenter)made Sun and Ju"recorded in The Rites of Zhou:The Artificers'Record and the craftsmanship of ancient China.Ju,a wood frame for large musical instruments like Zhong and Qing serving for weight bearing and sound production,is carved with decorative beasts thus achieving the aesthetic effect of'the sound produced by beating the musical instruments hanging on Ju is just like that of the animals which carved on Ju".The resemblance between the natural shapes of trees and those of the decorative animals on Ju could especially highlight the overwhelming ferocity and fierceness of the decorative wild beasts.This design philosophy ofharmonizing artifacts with nature"inherits and develops the craftsman tradition of"making objects in compliance with the shapes of the materials",extends Laozi's political philosophy of'the greatest carver does the least carving"in object creation,and is also interrelated with Zhuangzi's philosophical ontology of'Heaven and Earth havegreat beauty beyond words".