葉朗對《老子》美學詮釋的觀點

Ye Lang's Perspective on The Aesthetic Interpretation of ＂Lao Zi＂

本研究探討葉朗對《老子》美學的詮釋觀點，葉朗視《老子》為中國美學的起點，將「先秦、兩漢」視為中國美學發展發端期。並將中國美學的範疇界定在「審美意象」，而非「美的理論」或「審美意識」。至於《老子》的美學，葉朗以「道、氣、象」視為中心，並將「道」處理出「原始混沌」、「產生萬物」、「沒有意志」、「自己運動」、「無與有的統一」五種特性。再由「道、氣、象」產生「有、無、虛、實」等變化，還有「美、妙、味」等發展，最後以「滌除玄鑒」作為人們觀照事物的最高境界。

This research deliberates about the interpretations of Ye Lang on Lao Zi. Ye regards Lao Zi as the birth of Chinese aesthetics. In his opinion, the pre-Qin period, Western Han and Eastern Han dynasties are the starting point of the development of Chinese aesthetics. He defines the category of Chinese aesthetics as ＂aesthetic intention＂ rather than ＂aesthetic theory＂ or ＂aesthetic concept＂. As regards Lao Zi, Ye Lang focuses on the concepts of ＂Tao, Qi, Xiang＂, defining the five properties of ＂Tao＂, which are ＂primeval chaos＂, ＂creation of all＂, ＂non-existence of will＂, ＂ self-motion＂, and ＂unification of nothing and ens＂. He also explains the fact that ＂Tao＂, ＂Qi＂, and ＂Xiang＂ generate changes such as ＂with＂, ＂without ＂,＂false＂ and ＂true＂, as well as the development in ＂beauty＂, ＂delicacy＂ and ＂flavor＂. In the end, one reaches the highest level of observation is to get rid of one's ignorance, bias and superstition beliefs to clear the mind and allow it be tranquil and serene, just the clean surface of a mirror without any impurities or pollution.