《声无哀乐论》与魏晋美学的思辨精神  

Evocative Spirit about Theory of Music Without Emotion and Aesthetics in Wei and Jin Dynasties

作　　者：陈德琥[1] 

机构地区：[1]蚌埠学院继续教育学院,安徽蚌埠233030

出　　处：《暨南学报（哲学社会科学版）》2012年第9期102-109,163,共8页Jinan Journal(Philosophy and Social Sciences)

摘　　要："清谈"之风盛行于思想解放的魏晋时代,对当时士人文化空间的定位,"尤乐遊燕"、"善言虚胜"等交往方式的生发和思辨风尚的形成产生了极大的影响,从而使得魏晋美学呈现出鲜明的思辨色彩和思辨特证,进而熔铸为一种心境自由、哲思新锐、情感深挚和风神高迈的思辨精神。作为"人竞唇舌"背景下的音乐学名著,《声无哀乐论》"师心独见,锋颖精密",为清谈家必读文献而声誉广被,就在于嵇康一定程度上融通了道家、儒家的音乐美学思想,使作品在具备突出的思辨特征的同时,集中而充分地凸显了魏晋美学的思辨精神。The established prevalence of Qingtan(a popular philosophical ontology existed in Wei and Jin Dynasties) had a profound impact on not only cultural space orientation of feudal scholars in that period,but the formation and development of communication and philosophical approaches such as amusing themselves at banquets and being apt to talk about Daoism and Confucianism,which wedged a distinctive color and trait of pander on musical aesthetics.Then,this trend further came into being a preeminently evocative spirit of times with characteristics of inner freedom,ideological emancipation and acute philosophical thinkings.Regarded as masterpiece on music under the social background of rivaling to express one's ideas,Theory of Music without Emotion focuses on egoism and accurate debate produced,so that it was essentiall to be read by Qingtan professionals and enjoyed a high reputation widely due to the fact that it highlighted collectively and fully the evocative spirit of musical aesthetics of Wei and Jin Dynasties,mainly because Taoist and Confucian musical esthetics were combined with one another by the author Ji Kang to a large extent in his works which own the distinctive philosophical features.

关 键 词：清谈 《声无哀乐论》 魏晋美学 思辨精神 

分 类 号：I206.2[文学—中国文学]