接受美学视域下的嵇康乐论新探

A New Exploration of JI Kang's Music Theory From the Perspective of Aesthetics of Reception

嵇康提出"心之与声,明为二物"的观点,解放被固化的音乐接受活动,既肯定音乐的形式美因素,也肯定接受主体的主导性和差异性,从而在审美接受者的层面表现出高度的审美自觉。嵇康认为,声之体与心之本均是自然之和,在音乐接受活动中以"声和"感通"心和"而实现"政和",从而形成"声—心—政"的一体化接受模式。从接受美学的视角重新审视嵇康乐论,可以楬橥其独特的美学价值:因其同时超越儒家乐论夸大教化作用和道家乐论忽视音乐形式的两重局限,从而对后世文艺美学产生重要而深刻的影响。

Ji Kang put forward the view that heart and sound were two things. The idea liberated the fixed music reception activities,affirmed not only the factor of the formal beauty of music,but also the leading characters and differences of subject of reception,showing a high degree of aesthetic consciousness from the perspective of aesthetic receiver. JI Kang thought the noumenon of the heart and sound should be a natural harmony. In the fixed music reception activity,＂the social harmony＂could be realized by feeling ＂the sound harmony＂to ＂the heart harmony＂,thus forming an integrated reception mode of ＂sound- heart- society＂. Reviewing on JI Kang＇s music theory from the perspective of aesthetics of reception,we can discover its unique aesthetic value： JI Kang＇s music theory produces the important and profound impact on later literary aesthetics because it outdistances the dual limitations of both Confucian music thought that exaggerates the role of education and Taoist music thought that ignores musical forms.