藝術教育中的精神自由境界：中西比較視域下論莊子與Maritain之精神自由

Spiritual Freedom in Art Education: A Comparison between Zhuangzi and Jacques Maritain

本研究首先整理莊子哲學與Maritain哲學中之精神自由意涵及其與藝術的關係，並透過對比的方式，指出兩者相同與相異之處。相同之處在於，兩者皆肯定精神自由乃與人之整體相關，並且人之精神具有不斷完美自身、超越自身的可能性；同時，兩者皆反對無限上綱的、任意的主體自由，最高的精神自由直指一種超越人之主體性的自由狀態，並且以一更高的存有為依歸。相異之處在於，兩者通向精神自由的進路不同，莊子主張破除人在認知上的限制，而Maritain則強調人之認知能力的卓越化；另外，在精神自由與藝術的關係上，莊子強調的是人的修養功夫，並發展出一套有層次的修養論，成就了生活中的藝術家；而Maritain則著墨於實際的藝術創作理論，在其中，人精神自由的提升與發展得以透過獨立的藝術創作而表現出來。
最後，研究者將此研究成果應用於藝術教育上，並提出建議：藝術教育在實踐上可引導學生發覺人本性中的超越因素、加強認知發展的訓練（立）並學習突破限制（破），以及關注藝術教育與受教者之整體生命的關係，以期從精神自由的觀點，達至藝術教育與其他跨領域的整合。

This paper will first illustrate the meaning and connotation of “spiritual freedom” in both Zhuangzi and Jacques Maritain. Through a comparative approach, we elucidate the similarities and differences between the two. In terms of similarities, we found both Zhuangzi and Maritain affirm that spiritual freedom involves the person as a whole, which has the potential to be perfected; and also, that spiritual freedom is in no way an arbitrary freedom enclosed in the subjective, but a freedom that attributes itself to a higher being. Regarding differences between the two, Zhuangzi emphasizes the limits of man’s cognitive powers and develops a system of self-cultivation for man whereas Maritain stresses the excellence of man’s powers and develops from this an artistic theory of creation.
In the end of the paper, the author accommodates our research results to the present artistic education and proposes some suggestions for the future practice: art education is able to guide the students to pay attention to the transcendental element in them, to enforce their training of cognitive power yet free from its limits, and to focus on the relationship between the wholeness of their life and art education in order to facilitate an interdisciplinary synthesis from the perspective of spiritual freedom.