Research On Zhuangzi's Craft Aesthetics

The study of Zhuangzi's craft aesthetics is an interdisciplinary study of Zhuangzi's philosophy and "crafts aesthetics".China's traditional "craftsman civilization" and "creational culture" have accumulated profound cultural heritage.It is helpful to explore the modern value of traditional culture and promote the creative transformation and innovative development of traditional culture.Zhuangzi demonstrated his philosophical thoughts by craftsman's craftsmanship,which implied rich and profound aesthetic thoughts related to "craft creation".Studying Zhuangzi's process aesthetics with the theory principle of modern process aesthetics can not only enrich and perfect the theoretical system of modern process aesthetics,but also explore the ideological resources of traditional Chinese process aesthetics.In particular,the unique value orientation and ethical spirit related to Zhuangzi's craft aesthetics,such as "not seeking for utility but making use of it","not seeking for its merit but eventually achieving its merit" and "not seeking for its cleverness to make full use of its cleverness",are of particular significance to criticize and warn the modern society.In the tradition of "creation culture" in ancient China,the concept of "craft",which is composed of "craft" and "art",has a long history and rich connotation.The adoption of the concept of "craft aesthetics" has not only the rationality of cultural inheritance,but also the scientific basis of modern "craft aesthetics","technology aesthetics" and"design aesthetics"."Craft aesthetics" is a discipline that studies how human beings create the necessities of both beauty and goodness in the form of purpose and law.Compared with the traditional study of Zhuang Zi,the study of Zhuang Zi's aesthetics is a new subject in modern academic field,and the study of Zhuang Zi's craft aesthetics is a new field of this new subject.Zhuangzi once worked as a Lacquer official,He manages the plantation Zhuangzi's career related to artisans and craft creation,this experience not only inspired his philosophical writing,but also constituted the direct source of his craft aesthetics.First of all,Zhuangzi's "Tao" theory system has multiple theoretical forms of changes,and his "craftsman culture view" also has different ideological fluidity successively.The spiritual realm of "Tao" at different levels and artisan cultural view related to it from criticism to acceptance are the ideological preconditions for understanding Zhuangzi's craft aesthetics.Secondly,the stylistic features of“Fables 19" in Zhuangzi and the fables and stories related to "craft creation" are the textual basis for understanding Zhuangzi's craft aesthetics.Different segment of the activity in accordance with the "process of creation",Zhuangzi craft aesthetic thoughts from "virtual and treat:process design aesthetic mentality","day in TRW:process design aesthetic pursuit","refers to material:craft aesthetic pleasure" and "useless purposes:technology products of the aesthetic value"off our aspects such as system.The aesthetic mentality that accompanies the whole process of "process design" is to eliminate the internal and external troubles by means of "heart study" and "sitting to forget",so that the inner mind is continuously purified and purified,and finally reaches a mental state of "waiting for things without anything".Because the mind in the activity of "creation and design" is empty and quiet,it is not empty and empty,otherwise design" would be out of the question.Therefore,the mental state of "treating things with emptiness" contains the spiritual phenomena of "purifying the mind" and "dividing the mind with the purpose",which can only be investigated separately through rational analysis.Only "mind purification",can "empty and treat things";it is only by "using will not be divided" that the "thing" that is "waiting for",that is,the "design object",can be gradually revealed and formed in the mind of the designer.This is the aesthetic mentality of the whole process of "craft design".In the mind of design and design for mediation,within the design object of state vividly and the original form of the object material tying in,and then through the act of"form",given the actual creation,make the most of the natural shape of native trees,even cut slightly,slightly touched,will design object was close to "have been created out perfect".In the process of design and production,the design image and material form are highly compatible,which is the aesthetic ideal of "match heaven with heaven"in the activity of "craft creation".This aesthetic ideal of "uniting heaven with heaven" is not only internal and external to Zhuangzi's artistic philosophy ontology of "heaven and earth have great beauty without words",but also has its historical ideological origin in the history of ideology and the history of craft aesthetics.The sources of these thoughts include two aspects:first,the artisan culture tradition of "examining the curved surface tendency",which has a long history,in the Examination of Work Records;Second,Laozi's process aesthetics,which is closely related to the political philosophy of "rule by no means",is "great system without cutting"."Reference and materialization",is not only the aesthetic realm of "law beauty" and"free beauty" in the activity of "craft creation",but also a kind of aesthetic pleasure in which the creative subject is completely immersed in "forgetting what is appropriate".It is a pure aesthetic experience characterized by "the rapt attention,the complete participation of mind and body,and the unreality of sensation caused by detachment".This kind of aesthetic pleasure or aesthetic experience is the "transformation" state in which "freedom" and "law" adapt to each other without any trace."Law" does not hinder the internal freedom and independence of the subject,"freedom" does not break the objective stipulation of external things.The freedom of the subject is regulated and restricted by the law of conformity,and the objective law maximally relaxes the boundary and demand of the freedom of the subject.The aesthetic pleasure of "referring to and materializing" is to "follow one's inclination and break the rules" and "forget the right one",Zhuangzi does not deny that things have their inherent objective value,but for the material nature and function of things is "in my choice"."Useful" and "useless",even"big" and "small",are not the objects themselves,but the value judgment under the subject's view.Whether the subject of the object can change from one value to another depends on whether the mind of the subject is enlightened and whether the realm of life is broadened.Zhuangzi advocates the philosophy of life of "useless use",which inevitably blurs the functional boundary of "finished products of craft",affirming the value concept of "no waste,no waste and full use of everything",and giving full play to people's flexibility and subjectivity.On the contrary,people and nature have unlimited and loose adaptability.Zhuangzi's thought of craft aesthetics can provide some useful reference and warning for modern society.The academic belief of "not seeking its use but getting its use" is not only the criterion to judge the value of research results,but also the ideological premise to ensure the free and independent research process is not interfered with.In the modern society dominated by instrumental rationality,utilitarianism which kills the goose that lays the golden egg has become an irreversible universal disease."Do not ask for its merit and eventually have its merit",requires us to correct the thought motivation,give up the desire for immediate success;" Do not seek its skillful,and do their own skillful",requires us to pay attention to a solid foundation,against opportunistic;this is the modern value contained in Zhuangzi's thought of "craft aesthetics".All these thoughts are sure to play an important role in the harmony development of our modern society and the eternal benefit of mankind.In a word,the development of this subject in the theoretical system construction of"process aesthetics" has important guiding significance for the discipline construction of process aesthetics;Centering on the different links of the activity of "craft creation"and taking the theoretical system constructed as the principle,this paper makes a systematic theoretical analysis and value exploration of Zhuangzi's thought of craft aesthetics,and provides examples for the research of the history of craft aesthetics under the guidance of the theoretical principles of craft aesthetics.To sum up and conclude the thre modern enlightenment of Zhuangzi's craft aesthetics is to focus on the contemporary society and face the future world,which is also the ultimate value of this research.