试论嵇康的音乐形神理论

Discussing the Music Appearance-Sprite Theory of Ji Kang

嵇康的音乐形神理论是比较成体系的,这在我国古代音乐史上实属罕见。在他的音乐专论中,他从本体论、创作论和鉴赏论这三个角度,对音乐形神理论进行了全面而深入的阐发:在继承老庄音乐思想的基础上,他把音乐的本体定位于具有客体之“神”性质的“和”上;而在创作论上,他又暗暗地肯定了人的主体之“神”对音乐之“形”的影响;从鉴赏论的角度,他又赋予了鉴赏者的主体之“神”以主宰者的地位。经过嵇康的阐发,我国古代音乐形神理论终臻完备。

It＇s a rare thing that the music appearance--sprite theory of Ji Kang comparatively built up his own system. He fully and deeply elucidated his music appearance-sprite theory from the three perspectives of noumenou theory,creation theory and appreciation theory in his music treatise：he put the music noumenou in the “He” that has the nature of object sprite on the basis of inheriting to Lao-Zhuang music thought; he surreptitiously confirmed the influence of person＇s subject sprite to music appearance in his creation theory;he gave the person＇s subject sprite the＇governor position from the perspective of appreciation theory, Our ancient music appearance-sprite theory attained the perfect state by his elucidating.