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. |