本文从老子的哲理论说中探索其文艺思想。他一方面揭示对客观事物规律性的认识与语言表达能力之间存在差距,但又努力用形象化手法加以描写,表现出积极的创作态度。与其“有无相生”“无为而不为”“柔弱胜刚强”等宗旨相联系,他反对多言美辩、五音五色、圣智礼法,实则十分珍重言语,崇尚自然、朴素、天真之美,由此所提出“大巧若拙”“大辩若讷”“大音希声”“大象无形”等富有辩证法因素的艺术准则,对后世文艺批评与创作有着深远的影响。关于“大音希声”一语,后来有种种分歧的理解。本文以辨析“声”“音”“希”等字原义为基础,试为此句所启示的超妙审美理想境界提出一种新的解释,以就正于学术界和广大读者。 This article explores its literary thinking from the philosophical theory of Lao Zi. On the one hand, he reveals that there is a gap between the understanding of the regularity of objective things and the ability of language expression. However, he tries hard to depict it through figurative techniques and shows a positive attitude of creation. In opposition to his tenet of “being incommunicable,” “doing nothing without being done”, “being weak and being strong,” he opposes the rhetoric of many words, the sounds of five tones, and the wisdom of the wise man. In fact, he values ​​speech very much, advocating nature, simplicity and innocent beauty. The art principles of such dialectic factors as “big and small”, “big and naive”, “big bosom”, “elephant invisible” have far-reaching influence on literary criticism and creation in the future. There was a variety of disagreements about the term “big tone of hope”. Based on the original definitions of “Sheng”, “Yin” and “Xi”, this article tries to propose a new explanation for the superb esthetic aesthetic ideal enlightened by this sentence, just as in academia and readers.