“声无哀乐”与六朝“和”范畴的嬗变

"Sounds Neither Sad Nor Happy" and the Development of the "Harmony Aesthetical Ideology" In Wei and Jin Dynasty

"和"作为中国古典美学史的重要范畴,统摄性地体现了中国古代美学思想的特征。六朝时期,嵇康提出的"声无哀乐"的音乐美学命题使"和"范畴内涵和意义都有所发展。"和"范畴这一发展和转变的过程体现了特定时期艺术观念的进步以及美的自觉的发生,对六朝美学和艺术理论的发展都有着重要的意义。

Being the important category of Chinese classic esthetics history, the ＂Harmony Aesthetical Ideology＂ reflected the aesthetics thinking of Confucian tradition characteristics. During Wei and Jin Dynasty, the musical aesthetical proposition ＂Sounds Neither Sad Nor Happy＂ proposed by Jikang made the harmony aesthetical ideology developed both in connotation and significance. The development and changes of ＂Harmony Aesthetical Ideology＂ revealed the progress of the artistic concepts in a specific period, as well as the initiative process of the aesthetics, which is significant both on the Aesthetics and the art theory in that period.