本研究是以中國莊子道家哲學與山水畫之關係為論題。從魏晉之對人之人自身形象之審美開始，即當時之人倫鑒識,到後來的 “氣韻”之概念上,也即擺脫了實用之觀點，以中國一種特有對人之審美觀念發展出來的美學態度。中國的繪畫會從人物畫轉變成山水畫，主要是莊子的思想影響魏晉人士的生活，人之作用淡出，代之而起的是自然觀，即山水成為審美對象。審美對象乃是透過莊學中所強調的自由而來，而此自由之觀念，乃藉由人在山水中的遊然自得之樂，一方面消除人之造作，一方面把自由藉由人與自然之和調關係展示出來。當中之觀念涉及到莊子美學思想中 “心齋”、“坐忘”還有“遊”等觀念對作藝品之中國山水畫作以及作者的精境界之影響。以哲學和藝術的研究方法和角度出發，並分析、歸納的方式從《莊子》一書中美學思想對中國山水畫的風格特色、畫面結構、藝術造形和視覺形式的影響，藉由相關文獻之整理與探討讓本論文立論更為明確與充實。 In my study the relationship between the philosophy of Taoism and landscape is the main theme. In Weijin chinese began to make aesthetic about themselve image, that is about their ethical life, later to see themselve through the concept of rhyme of vitality(氣韻) . In such standpoint chinese tried to be free from the concept of pragmatic and devolped a spicial standpoint in order to make aesthetic of human. The reason why painting in China was devolped from image of human to landscape bases on the thought of Zhuangzi which effected the living in Weijin – the factors of human became less important and instead of human landscape played a role which became more important, that is landscape became a object of aesthetic. The object of aesthetic came from freedom which was stressed by Zhuangzi, and the concept of freedom became possible by means of the happyness itself which human gained by the playing in landscape. The freedom can clear up the artificials and and reveals itself through the harmony between human and nature. In my paper the related ideas are the “心齋”、“坐忘” and “遊” which can play a important role in the landscape of china and have a great affect on the spirit of the authors of paintings. I try to research the theme by the method of philosophy and arts, and to analyse the thought of aesthetics of Zhuangzi in order to make understanding of structures in the painting of landscape and discuss the literature in order to let my paper become more concrete.
