“琴德”与“文心”——论嵇康《琴赋》之袭故弥新及其余韵流风  

“Qin Virtue” and “Wenxin”: Innovation of Ji Kang's “Qin Fu” Based on Tradition and Its Impact

作　　者：宋展云[1] 

机构地区：[1]扬州大学文学院

出　　处：《文艺理论研究》2017年第6期50-58,共9页Theoretical Studies in Literature and Art

基　　金：国家社科基金项目"<文选>诗类题解文献辑录与研究"课题[项目编号:15CZW015]的阶段性成果~~

摘　　要：嵇康《琴赋》在效仿两汉音乐赋的创作模式及经典语汇的基础上,将骈俪之体与论说文风融入赋作,该赋体物神貌俱至、寄情清俊不俗。嵇康对于雅琴进行玄学化的描写,并赋予琴文化以更为丰富的内涵。嵇康建构起"含至德之和平"的琴德论,对于先秦两汉乐论、琴论有所继承并推新。嵇康《琴赋》扭转了两汉琴论以悲为美的风尚,从传统儒家乐论中重塑以和为贵的观念;同时摆脱了儒家琴论正心修身的教化观,将道家声无哀乐论引入其中,突出音乐的自然特性以及导养娱情的现实功效。古今中外文士对于嵇康《琴赋》的研读、欣赏与慨叹,丰富了文本的意义空间,使其琴德可感、文心可见。Based on the classic vocabulary of music fit＇s creative mode in the Hun dynasty, Ji Kang＇s ＂Qin Fu＂ integrated the parallel prose and the argumentation into the work of the fu. Ji Kang gave yaqin metaphysical description, thus bringing the qin culture a richer content. He proposed a qin ethics of ＂peace virtue＂, which Was an innovation based on the music theory tradition of the pre-Qin and Han dynasties. Ji Kang＇s ＂Qin Fu＂ reversed the trend of sadness beauty in the Hun dynasty, and reinstated the idea of harmony from traditional Confucian music theory; it dispensed with the Confucian qin theory which emphasized didactic self-cultivation. In the meantime, he brought in the Taoist idea that no music is sorrowful, thus highlighting music＇s natural characteristics and practical function of self-cultivation and entertainment. The study, admiration, appreciation of Ji Kang＇s essay by posterities across the world have enriched its meaning, so that its moral can be felt, and its essence can be seen.

关 键 词：《文选》 嵇康《琴赋》 音乐赋 琴论 

分 类 号：I207.22[文学—中国文学]