1、 22 1 ? 7 B+ y |Z T “ LCop b =op Z TbS.dBZ= |# Bs= us|a a a 3 a 0a? a/aa ma F 6BZ 4o7 p u l V E =L B 3v 9 oL4p uNmv bop/4 k ?z W 3 8 3 f b7 ov bB M+ W H b HB $4 ;v7 C“ 1 L=1 3 4 b p14(P21)? 6 y ?Z gw# H 5jA T v 3 il B fi .yN7C 5 bX jE11 1 fpb -tM; F 1+ M 4C L 3 , b CK1 *!d op yNA1F Ib ID1 S_ SA 1 Mv
2、1984 2 :l M 6 1980 3 61# kl J S 2002(1) 4 : N M Z 1956 5 +i M 1987 6 M 6 1985 7 W5 X1 M 1997 8 6S X N M 1986 9 . !v MS M1987 10 fE * Mv 1994 11 Xt4“ M 1993 12 # M 61999 13 : 1 M 6 1979 14 7 M Z Z 1981 q3 I =rChinese Traditional Culture ZHOU Jia-chen (Hunan Technique College, Yongzhou Hunan 425006, C
3、hina) Abstract: The idea of the emptiness and quietness not only belongs to Taoism, but also permeates through each period of Chinese culture history and every respect. Because Chinese traditional culture abides by honest and dialectical unification, pays attention to the family role, and has inward
4、ness, therefore, it regards emptiness and quietness as a bridge to the freedom Pursuing the emptiness and quietness is pursuing the freedom. Taking hold of the freedom is also taking hold of the spiritual essence o f the theory of the emptiness and quietness. Key words: emptiness and quietness; freedom; aesthetic
