以和为体——嵇康《声无哀乐论》中的音乐本体论

With Harmony as the Noumenon: Ji Kang's Ontology of Music in Music Has no Sorrow or Joy

嵇康认为音声源于天地自然,有其自身不变的体性,这种体性体现在音乐上就是音乐以平和为体,与人的哀乐情感无关。平和的人心显现于外产生平和的音乐,平和的音乐感发宣导人心,二者相得益彰才能既有利于音乐艺术的发展,又能使音乐起到影响人心的作用。因此,嵇康以和为体的音乐美学,就是要深入探讨音乐自身的内在规律性与艺术性,为其崇尚的无为政治作论证。但实际上,《声无哀乐论》的政治目的从未实现过,而其在音乐学及美学上对后世的影响才是更重要的。

Ji Kang thinks music has it’ s own identity.Originating from the nature, the essence of music is its natural harmony, which has nothing to do with the political situation and human emotion.Harmony in emotion can produce harmonious music, and harmonious music can affect human emotion, the two sides complementing each other.Ji Kang’ s musical aesthetics steers clear of human emotion and political situation, and probes into musical regularity and artistry itself, which supports his political view of inaction in governance.However, this political goal never serves the purpose, while his views about music and aesthetics do have significant impact on the following generations.