从“神秘感应论”到“声无哀乐论”

发布时间：2018-05-02 14:06

本文选题：音乐美学 + 感应论　；参考：《求索》2017年09期

【摘要】：感应是中国古代一种富有神秘色彩的感知世界的方式。感应论认为,天地间万物相通,音乐可以与天地神人相互感通。先秦两汉时期的儒家充分利用了音乐和政治及自然之间的感应关系,构建了具有超验性的音乐观念。谶纬神学将这种具有神秘色彩的音乐观念推向了极端,但也遭到了王充等学者的质疑。魏晋时期嵇康的《声无哀乐论》从音乐的自然属性出发,建立了较为系统和完善的纯音乐美学思想。从"神秘感应论"到"声无哀乐论"成为中国古代艺术理论从先秦两汉到魏晋嬗变的核心所在。"声无哀乐论"是中国音乐摆脱政治和宗教附庸地位的转折点,在艺术独立之途上具有重要理论意义,但嵇康运用科学和实证的思维方式来衡量音乐艺术,也在一定程度上否定了中国传统艺术特有的神秘感应性。
[Abstract]:Induction is a mysterious way of perceiving the world in ancient China. The theory of induction holds that everything in heaven and earth is interlinked, and that music can communicate with God and man in heaven and earth. Confucianism in the pre-Qin and Han dynasties made full use of the inductive relationship between music, politics and nature, and constructed a transcendental musical concept. Divinity theology pushed this mysterious musical concept to the extreme, but it was questioned by Wang Chong and other scholars. Ji Kang's Theory of Sound without sadness in Wei and Jin dynasties established a more systematic and perfect aesthetic thought of pure music based on the nature of music. From the theory of mystical induction to the theory of no sorrow and music, it has become the core of the evolution of ancient Chinese art theory from the pre-Qin Dynasty and the Han Dynasty to the Wei and Jin dynasties. The theory of music without sorrow is a turning point for Chinese music to get rid of the status of political and religious vassal. It has important theoretical significance on the way of artistic independence. But Ji Kang uses scientific and empirical thinking to measure music art. To some extent, it also negates the special mystique of Chinese traditional art.
【作者单位】：中央民族大学;
【基金】：国家民委项目“民族文化融合语境下的中国审美文化教学和研究”(项目编号:MW-JGLX15526)
【分类号】：J601

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