| 题名 |
論技藝活動中的形神關係：以《莊子》為指歸 |
| 并列篇名 |
On the Form and Spirit of Technical Prowess Portrayed in Zhuangzi |
| 作者 |
吳億修(Wu, I-Hsiu) |
| 关键词 |
莊子 ； 技藝 ； 形神 ； 現象 ； Zhuangzi ； technique ； form/spirit ； Phenomenology |
| 期刊名称 |
東海中文學報 |
| 卷期/出版年月 |
40期（2020 / 12 / 01） |
| 页次 |
1 - 28 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
本文借道現象學對傳統哲學的反省，藉由「形」、「神」關係的重構，思考人際之間的主體建構可能性。首先，從《莊子》技藝活動中，技藝實施者「可見」的「形」與「不可見」的「神」，來審視某種具有厚度的、交織的、向來已被介入的人與世界之關係性。再者，若以〈田子方〉「目擊而道存」的角度審視文本中的技藝活動，技藝實施者經由磨練而「安」於技藝場域的各種身體「形」態，即說明「德全」是可見的－可見的身體本即帶有思想意義。而〈田子方〉更認為古之真人，其充滿天地之間之「神」，不只是侷限在個體的逍遙境界，而且是具有人際性的「既以與人，己愈有」。因此，觀看者「目擊」技藝活動中安於技藝場域的技藝實施者，在視覺上是「形」、「道」與「神」三者密切而重疊的呈現。最後，筆者認為日本能（劇）中，世阿彌元清的藝道之「花」，就是「形」、「神」關係在舞台上的具體表現，這也是從《莊子》技藝活動中人物關係朝向人際關係前進的初步嘗試。 |
| 英文摘要 |
The present article takes a phenomenological approach to traditional Chinese philosophy. Eschewing the interpretations of form (xing形) and spirit (shen神) afforded by subjective constructivism, the present study considers the visible form and invisible spirit of the practitioners of techniques portrayed in the Zhuangzi莊子, revealing a man/world relationality that is at once substantial, interlacing, and perennially mediated. In the ＂Tian Zifang＂ 田子方chapter, Confucius says of Wen Bo Xuezi溫伯雪子,＂As soon as my eyes lighted on that man, the Dao in him was apparent.＂ When analyzed from the perspective of this statement, the practitioners discussed in this study may be observed to retrain and settle (an安) into the physical forms (xing) of a given discipline, suggesting that moral perfection (dequan德全) is visible-the visible body expounds philosophical meaning. It is also argued that the ancient sages, whose spirits pervaded the earth and the heavens, were not confined to the realm of Untroubled Ease (xiaoyao逍遙) but were interpersonal because ＂the more they gave to others, the more they had.＂ Therefore, when the observer's eyes light on a practitioner who has settled into his discipline, visual form, Dao, and spirit intimately overlap. In conclusion, this article argues that the art of flowers (hana花), practiced by Zeami Motokiyo (世阿彌元清，c. 1363-1443) in Japanese Nou theatre, is a realistic representation of the relation between form and spirit on the dramatic stage. This is a tentative attempt to move from the relationality of performers in the Zhuangzi to inter-personality. |
| 主题分类 |
人文學 >
人文學綜合 人文學 > 語言學 人文學 > 中國文學 |
| 参考文献 |
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