西汉礼乐“为用”观念之衍变——兼论《淮南子》对魏晋时期文人音乐美学思想的影响  

Evolution of the Concept“for Using”of Rites and Music in the Western Han Dynasty--Concurrent Discussion of the Influence of Huainanzi on the Musical Aesthetics of Scholars in Wei and Jin Dynasties

作　　者：胡怡乐 王安潮[2] HU Yile;WANG Anchao

机构地区：[1]哈尔滨音乐学院,哈尔滨150028 [2]西安音乐学院

出　　处：《浙江艺术职业学院学报》2023年第1期69-75,共7页Journal of Zhejiang Vocational Academy of Art

摘　　要：《淮南子》深受道家思想影响的文化内涵与其对“声”“情”关系的探讨和魏晋时期儒道融合的时代特征以及封建礼教压迫下追求个体精神解放的社会风潮有着相似的思想内核。通过《淮南子》再辨析,它不论是在关乎审美主体即人的自我修养、心境及所处社会环境的分析,针对审美客体即音乐本源、形态和内涵的探讨,还是有关“得欲”和“怨思之声”的审美理念之阐发,《淮南子》都对魏晋文人的音乐美学思想产生深远的影响,体现在《声无哀乐论》《乐论》《文心雕龙》对魏晋时期文人的相关音乐美学行文中。从审美主体、客体及审美理念等方面出发,针对《淮南子》中关乎音乐美学的尚“平和”之声、“声”依“情”而动等观点再行辨析,进而认知《淮南子》中的西汉礼乐观对魏晋文人音乐美学产生的影响。The cultural connotation of Huainanzi,which was heavily influenced by Taoist thought,and its exploration of the relationship between“sound”and“emotion”are similar to the characteristics of Wei and Jin Dynasties when Confucianism and Taoism were fused,and the social trend of pursuing individual spiritual liberation under the oppression of feudal rituals.It is clear from the Huainanzi that whether it is the analysis of the aesthetic subject,i.e.the self-cultivationof man,his state of mind and the social environment in which he lives,or the exploration of the aesthetic object,i.e.the origin,form and connotation of music,or the aesthetic concepts of“desire”and“the sound of grievous thoughts”,Huainanzi is the most important work on the subject of aesthetics.These influences can be seen in the treatises on the aesthetics of music written by the literati of Wei and Jin Dynasties,such as The Theory of Sound without Sorrow and Happinesss,The Treatise on Music,and Wenxindiaolong.From three aspects of the aesthetic subject,the aesthetic object and the aesthetic concept,many of the ideas are examined in depth in Huainanzi concerning the aesthetics of music,such as the sound of“peace”and the movement of“sound”according to“emotion”.

关 键 词：礼乐“为用” 音乐审美 魏晋文人音乐 嵇康 

分 类 号：J601[艺术—音乐]