反知？或博聞體要？──以「庖丁解牛」為線索

Anti-intellectual? or Knowledge By Embodiment? Hints from “The Butcher’s Knife”

一般論及道家對於知識的態度，通常認為道家並不賦予知識以本體論意義上的正面價值與意義。然而，一個顯而易見的事實是，與身體有關的技藝寓言，卻頻繁的出現在《莊子》文本之中。這似乎意味著，雖然知識所能指涉的並非最高的境界，卻是生命流行所不可或缺的。藉由無懈可擊的技藝展演，莊子無疑肯定知識具有不容越次躐等的中介性質。若果以心齋、坐忘為核心的傳統心性論哲學，關注的焦點是作為主體之我與作為客體的世界的物我兩忘、主客合一、虛靜觀照的（藝術）精神境界。那麼，以身體為中心（以氣為體）的職工達人的技藝哲學，強調的則是以具體的技藝實踐細節（心、手、器、物）的相互關聯性，及其彼此互援的沉浸式體驗，作為在世活動的整體範式。

Generally speaking, when it comes to Taoism’s attitude toward knowledge, people usually think that Taoism doesn’t grant knowledge positive value and meanings. However, it is an obvious fact that artistry fables related to bodies and knowledge appear frequently in works of Zhuangzi. It seems that even though knowledge doesn’t always involve the highest level, it is absolutely necessary in life. Through these impeccable performances of techniques, undoubtedly, Zhuangzi confirms knowledge occupies an intermediary stage that can’t be ignored. The philosophy of these labor professions of artistry, centered on bodies, (Qi as bodies) emphasizes the interconnection between practicing details of movements (Hearts, Hands, Tools, Objects) and immersive experiences that support each other, and uses it as the model of being alive in the world.