魏晋乐论及其对美学范畴的重塑  

The theory of Yue and the reconstruction of aesthetic category during Wei-jin Dynasty

作　　者：韩伟[1] 

机构地区：[1]哈尔滨师范大学文学院,黑龙江哈尔滨150025

出　　处：《北方论丛》2013年第6期11-16,共6页The Northern Forum

基　　金："文论与乐论关系研究--以汉代至宋代为考察对象";教育部人文社科青年基金项目:"宋代乐论研究"(10YJC751024);黑龙江省教育厅项目:"美学视域下的辽金元乐论源流研究"(1253b007);哈尔滨师范大学青年学术骨干项目:"辽金元乐论流变研究"(SGB2011-21)阶段性成果

摘　　要：魏晋乐论具有重要的思想史和美学史意义。作为魏晋时期艺术思想领域的先锋,乐论对于时代美学思想的转变具有促进作用,并最大限度地实现了对美学范畴的重新塑造。具体言之,最大限度地抽离了"乐"的伦理内涵,使其向审美性的快乐滑移;使"和"摆脱政治性的最终归宿,由社会政治之和变为主体精神之和、艺术形式之和;在音乐文学领域重新审视"气"范畴,从而形成"声气"和"韵气",并试图对两者的外延进行拓展。The Yue theory of Wei -fin Dynasty has an important significance to ideological history and aesthetic history. It plays an important role in transformation of aesthetic ideas, also in reconstruction of aesthetic category. Specific, pulled out of the ethical connotation of Yue, to slip it to aesthetic pleasure. And made He get rid of the political factors, to develop into He of spirit and He of art form. Moreover, re -examined the category of Qi, to make it become Shengqi and Yunqi, which expand the extension of Qi.

关 键 词：魏晋 乐论 乐 和 气 

分 类 号：B83-0[哲学宗教—美学] I207.22[文学—中国文学]