庄子在其《养生主》有一段精彩的描写:“庖丁为文惠君解牛,手之所触,肩之所倚,足之所履,膝之所,然响然,奏刀殸然,莫不中音。合于桑林之舞,乃中经首之会。……彼节者有间,而刀刃者无厚,以无厚入有间,恢恢乎其于游刃,必有余地矣。”道的生命近乎于技,技的表现启示着道。这是庄子对于艺术境界最为精妙的阐发。艺术需要技艺,而工艺美术更需要技艺,这种技艺同庖丁解牛一样,是一种人工到天巧的境界,也是形而下之器与形而上之道的结合之境。徐朝兴是龙泉的青瓷艺术大师,其大师的称号正 Zhuangzi in his “health advocate” there is a wonderful description: “Bian Dingwen Wenhuijun cattle, the touch of the hand, the shoulders of the lean, enough to play, the knee of the place, of course, play knife suddenly, Not in the sound .In the dance of the Sanglin, is the first meeting of the first. ... ... he who has between the sections, and the edge is thick, no thick, there is room for improvement . ”The life of the Tao is almost technical and technical performance enlightenment. This is the most subtle exposition of Chuang Tzu for the artistic realm. Art requires artistry, and arts and crafts need more art, this technique is the same as Artificial solution, is a kind of artificially heaven and earth, but also the combination of metaphysics and metaphysics. Xu Chaoxing Longquan celadon art masters, its master’s title is