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首先,我们必须指出:庄子的美学思想并不是自觉意义上的美学,整个一部《庄子》并非为美的问题而作,庄子的学说是关于人类生存的哲学.从根本上说,,就是探讨人类生与死,以及如何完美地生与死的学说.在庄子的学说中,其对理想人生的追求恰与艺术的精神达到了某种内在的神合.①正是这种神合,才使庄子的哲学为后世无数艺术家遨游其中;也正是从这个意义上,我们才把从庄子学说中提炼出来的有关美的本体的思考称为庄子的美学本体观.由此,我们得出这样一个结论:要把握庄子的美学本体观,必须将其放到庄子的哲学思想体系中,将两者联系在一起来考察.
First of all, we must point out that Chuang Tzu’s aesthetics is not aesthetically conscious aesthetics. The whole “Zhuang Tzu” is not a question of beauty, and Chuang Tzu’s doctrine is a philosophy of human existence. Fundamentally speaking, Life and death, and how to perfect life and death.In Zhuangzi’s theory, his quest for the ideal life just reaches an inner divine combination with the spirit of art. It is from this sense that we only refer to Zhuangzi’s reflections on the noumenon of beauty from Zhuangzi’s theory as Zhuang Zi’s aesthetics ontology, from which we conclude To grasp Chuang Tzu’s aesthetics ontology, we must put it into the philosophical system of Zhuang Zi and connect the two together to examine.