和声无象 哀心有主——论嵇康的音乐美学思想

Ji Kang's Ideology of Music Aesthetics

嵇康的音乐美学思想是一个从本体论到欣赏论的思辩性很强的完整体系。嵇康在对儒家音乐美学的传统命题“声有哀乐”的批判中,把道家关于本体的“道”、“和”的思考引伸和运用到具体的、现实的音乐形式上。他以“和”论乐,指出“和”是一种超越各种具体情感、局部现实及有限感官的形上本体世界,是超越了一切“偏固之音”“一致之声”的无具体声像而又有无限可能的自由的平和之境。这与玄学家的“无”是相通的。嵇康的音乐美学思想既是道家美学的逻辑发展与深化,也是魏晋玄学在美学上的完成与落实。同时,嵇康把审美本体的地位提到一个空前的高度。他已经认识到音乐与人们的生理、心理情感在形式上有着某种对应关系,触及到审美过程的一个重要方面。

Ji Kang＇s ideology of music aesthetics is a complete system in the development from ontology to appreciation that is full of dialectics. In criticising Confucian music aesthetics Ji Kang extended and applied what Taoists thought of the ontological ＂Dao＂ and ＂He （harmony）＂to the concrete, realistic music forms. He based his discussion of music on ＂Harmony＂, pointing out that harmony was a metaphysics concept That transcended various concrete feelings, partial realities and limited sensory organs. This is identical with what metaphysicists believe -＂Wu＂. Ji Kang＇s ideology of music aesthetics is not only the development of Taoist aesthetics, but also the falfilment in aesthetic by the metaphysics of Wei and Jin Dynasties. At the same time Ji Kang raised the position of aesthetic ontology to an unprecedented level. He has realized that to some degree music corresponds to the human physiology and the human psychology, revealing one of the important aspect of the process of aesthetics.