从梁武帝到明太祖,在这近一千年的时间里,历代皇帝乐此不疲地亲注《老子》。在儒学立国的传统里,对道家的兴趣丝毫不见减退。然而自明中期以后风光不在,随之民风萎靡,几近圆滑、虚伪、做作、胆小,而老子的“道法自然”的真实、本原、野性的力量日趋衰微。统治加强了,但国力消弱了,艺术也同样变得缺少创造力。所以儒道两家的分寸把握至关重要。此为当今和谐真正之内涵,亦为艺术家内心平衡之思考。 From Liang Wudi to Ming Taizu, dynasties eulogized the “Lao Tzu” for nearly a thousand years. In the Confucian tradition of establishing a nation, there was no diminishing interest in Taoism. However, since the mid-Ming and later Ming Dynasties, the scenery is not there. As a result, the popular style is sluggish, almost smooth, hypocritical, contrived and cowardly. However, the real, primitive and wild forces of Lao Tzu’s “Taoist Nature” are declining. The dominance has strengthened, but the national strength has weakened, and so has the art’s lack of creativity. Therefore, the determination of Confucianism and Taoism is crucial. This is the true meaning of harmony today, but also for the artist’s inner balance of thinking.