郭象的《莊子注》作為經典的玄學作品，歷來不乏研究者的重視，然而圍繞其時代影響問題卻始終存在著正面讚賞與負面評價的爭議，筆者嘗試以西晉與東晉士人不同生存處境的區分來辨析這一問題，同時又反以《莊子注》為線索來考察兩晉士人的轉變問題，使二者相承並濟。如果說西晉士人的自全士風和東晉士人的審美活動，皆可在一定程度上被視為基於《莊子》文本的某種生存論意義上的詮釋行為，那麼郭象的《莊子注》作為創造性的詮釋文本，則同時與此二者有所契合與激盪。我們一方面要對西晉士人的實際生存處境予以更深入的考察，另方面則要意識到郭象如何通過積極的詮釋工作，同時超越了其生存處境本身與《莊子》文本本義，在當時開啟了一種創造性的政治建構；這一政治建構在西晉轉入東晉之後，由於門閥政治之產生所導致的士人生存處境的變化，而轉以藝術精神的形態為東晉士人寄情山水的審美活動提供了豐富的資源

Guo Xiang's Zhuangzi Zhu, as a classical Xuanxue work, is always valued by scholars, but on the problem of its empact on its own age, there is a conflict between the admiring attitude and blaming attitude. This essay tries to solve the above problem by distinguishing the different existential situations of Dong-jin and Xi-jin scholars, and at the same time, research in turn on the changing between Dong-jin and Xi-jin scholars by the clue of Zhuangzi Zhu. If we, to some extent, regard both the self-protecting style of Xi-jin scholars and the aesthetic activity of Dong-jin scholars as the hermeneutic behavior of certain existential sense, on the basic of text of Zhuangzi; then Guo Xiang's Zhuangzi Zhu, as a creative hermeneutic text, can correspond to both the two ages. For the one thing, we should make a deep research on the real existential situation of Xi-jin scholars. For the other, we should also be conscious about that how Guo Xiang, by his active hermeneutic working, transcended both his own existential situation and the original meaning of Zhuangzi, and build up a creative kind of political construction, which, after Xi-jin, due to the changing of existential situation caused by the Menfa politics, turned to provide rich resources for the aesthetic activity of Dong-jin scholars by the form of art spirit