The Separation and Merging of Views on Artifice and Technique in Early China——Centred on Body and Artifact
Although craft has considerable generalizing power,it is undeniable that in the context of early Chinese literature,there are very few descriptions of hand.Unlike Taoism,which emphasizes the relationship between technique and body,aiming to realize the realm of divine encounter in which the individual is at ease with his or her own hands,Confucianism emphasizes the relationship between artifice and creation,distinguishing the humanities,rituals and nature.Among them,making artifacts,producing literary works,composing music and acting as human have specific steps and procedures for realization.The above Daoist and Confucian views of artifice and technique are interwoven and permeated into calligraphy,painting and literary thought,and ultimately point to the transcendental realm,in order to realize the realm of transcendence from technique into Tao and the unity of art and Tao,the transcendental realm of Taoism and the cultivation of kung fu in Confucianism tend to be the same.In the classical Chinese context,technique is centered on body and artifacts,expanding its boundaries and meaning outwards.There is a hierarchical order among the components of the body,with the heart being the highest,and the five senses,hands,and feet being under the dominion of the heart.In this system,the order from lower to higher makes technique itself neglected.In the ultimate sense,technique leads to the Tao,a process of transformation from the form perceived by the five senses and limbs to the spirit condensed by the heart.In other words,the view of the hand is integrated into technique,Dao,and ritual,and the interplay between them is a reflection of the complementarity and mutual transformation between the concepts.
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