本文将庄子的死亡观归之为死亡哲学,将屈原、陶渊明的死亡观归之为死亡美学,力图说明,哲学与美学的本质区别在于理性与情感的区别。因此,死亡哲学与死亡美学的区别在于,两者的死亡态度是否纠结于个体的生命情感。庄子从天地自然的生生变化来审视死亡,对于妻子和自身的死也依然超脱,他的死亡哲学是一种理性的召唤与劝导;屈原则以自杀的决绝行为来祭奠个体的人格理想,在决绝中又有各种痛苦、焦灼、挣扎、孤独、恐惧、哀伤、留恋等个体情感上的挣扎;陶渊明处在庄子与屈原之间,他在诗文中对于生死的描述,蕴含了十分深远的哲学思辨,但是又保留了真实生命的个体情感,他的死亡美学体现了一种更加成熟的死亡态度。中国古典对于死亡的探讨、表现,从先秦诸子到魏晋南北朝,从庄子、屈原到陶渊明,可说是从哲学到诗,再到哲学与诗结合的过渡,体现了“道——儒道——儒道佛”的渐变融合过程。 This paper regards Zhuangzi’s death view as the philosophy of death, and regards the death view of Qu Yuan and Tao Yuanming as death aesthetics in an attempt to show that the essential difference between philosophy and aesthetics lies in the difference between rationality and emotion. Therefore, the difference between death philosophy and death aesthetics lies in whether the death attitude of the two is entangled in the individual life emotion. Chuang-tzu examines death from the natural changes in life and world, and he is still detached from the death of his wife and himself. His philosophy of death is a kind of rational call and persuasion. Qu Yuan dictates individual ideal of personality with the act of suicide. There are also a variety of pain, anxiety, struggles, loneliness, fear, sadness, nostalgia and other emotional individual struggles; Tao Yuanming Chuang Tzu and Qu Yuan in between, his description of life and death in poetry contains a very far-reaching Philosophical speculation, but also retains the individual emotions of real life, his death aesthetics reflects a more mature attitude toward death. The study of the Chinese classic about death shows that from the pre-Qin philosophers to the Wei, Jin and Northern and Southern Dynasties, from Zhuangzi and Quyuan to Tao Yuanming, it can be said that the transition from philosophy to poetry to the combination of philosophy and poetry embodies “ Road - Confucianism Buddhism ”gradual fusion process.