阮籍《乐论》音乐美学思想的再评价

A Re-evaluation of the Music Aesthetics in Run Ji's “On Music”

阮籍《乐论》表面看是对儒家音乐美学思想的继承,实际是对它的背离和颠覆。它从道家的自然观立论,以音乐的自然之和来区分雅郑之别,颠覆了雅俗纷争背后的伦理教化根基;以风格为音乐的特征,破解了儒家赋予音乐的政治属性;又从玄学汲取养分,立足于个体心性的和谐,探讨了音乐在个体全身养气中所起到的作用,背离了儒家君子德行培养的音乐价值观。其音乐美学思想上承道家思想,中取玄学人本精神,下为嵇康《声无哀乐论》挣脱伦理道德束缚,为后世音乐的独立发展铺平了道路。

It looks like Ran Ji's 'On Music' inherited its aesthetics from that of Confucianism but in fact it deviates from the latter.'On Music' bases its argument on Taoism's natural view and emphasizes the fusion between music and the nature,subverting the ideological foundation behind the disputes between refined and popular tastes.Further more,in establishing style as music's primary nature it cracks the political attribute of music given by Confucianism.