论嵇康《声无哀乐论》受佛教思想的影响

On the Influence of Buddhist Thought on Ji Kang's The Theory of Music without Emotion

学者们一般从儒、道两家思想来解析嵇康《声无哀乐论》的思想渊源,但却不能解释“声无哀乐”这一美学命题超越儒、道的深层原因。《声无哀乐论》中提出的音乐与人的情感分离的思想(哀乐之“名实俱去”)并非来源于儒道两家,而是更接近于佛教“无我”的认识观;“躁静者声之功,哀乐者情之主”观点与佛教中的“守意”说相通;“淫之与正同乎心”也与佛教理论重视主体修行的观点一致。嵇康作品语言以及画作的一些佐证也证实了其与佛教的渊源。而历史文献中向未提及嵇康与佛教关系的原因可能在于当时佛教在士人中的影响力有限,且是以玄道的形式传播的。

Scholars generally analyze the origin of The Theory of Music without Emotion of Ji kang from the thought of Confucianism and Taoism.However,it cannot explain the deep reason why the aesthetic proposition of“Music without Emotion”transcends Confucianism and Taoism.The idea of music separated from human emotion,which is mentioned in The Theory of Music without Emotion,is not from the thought of Confucianism and Taoism but close to“Anatman”of Buddhism.The idea of“the function of music is to make people dynamic or static,while the sadness and happiness is caused by human's emotion”is close to“ShouYi”of Buddism.The idea of“whether excessive or moderate music is felt from human's heart”agrees with Buddhist“focusing on individual cultivate”.Ji Kang's language and some evidence of his painting also confirm his origin with Buddhism.The reason why the relationship between Ji Kang and Buddhism is not mentioned in the historical documents may lie in the fact that Buddhism had limited influence among scholars at that time and spread in the form of Metaphysics.