论魏晋音乐的本体论建构——“五声有自然”  

On the Ontological Construction of Music in Wei and Jin Dynasties:"The Five Sounds Spring from Nature"

作　　者：洪永稳[1] 

机构地区：[1]黄山学院文学院,安徽黄山245041

出　　处：《美育学刊》2017年第6期59-65,共7页Journal of Aesthetic Education

摘　　要：魏晋的音乐美学理论继承了先秦以来道家"以乐论道"的历史资源,在玄学盛行的文化语境中,在哲学本体论精神的关照下,形成了音乐艺术的"乐道"观思想,强调音乐的本体之道,"五声有自然"。在音乐的功能上表现为审美,与传统儒家的教化论迥然有别。在音乐的特征上表现为"平和",和传统儒家的音乐之"和"也有区别。这一新的"乐道"观理论表征着中国音乐艺术本体论建构的形成,对于开启艺术的独立和审美的自觉有着重要的意义,对于后世的中国艺术理论也有着重要的影响和价值。The theory of music aesthetics in Wei and Jin dynasties inherited the historical resources of Taoism since the preQin dynasties. In the cultural context of metaphysics and under the influence of philosophical ontology,the idea of " Daoism through music" was proposed and the ontological nature of music was emphasized to the point of claiming that " the five sounds spring from nature. " The aesthetic function of music is highlighted at the expense of the didactic Confucian aesthetics and its characteristic of " peace" also differs from the Confucian term of " harmony". This idea of " Daoism through music" represents the establishment of the ontological construction of Chinese music art. It is therefore of great significance to the autonomy of art and aesthetic consciousness and has an important influence and value for subsequent Chinese art theory.

关 键 词：乐道观 五声有自然 声无哀乐 玄学 文化语境 

分 类 号：J609.2[艺术—音乐]