“道”“情”共主——《淮南子》中的音乐观  

The Dual Dominance of“Tao”and“Qing”:A Study on the View of Music in Huainanzi

作　　者：马宁静 Ma Ningjing(School of Literature,Heilongjiang University,Harbin Heilongjiang 150080,China)

机构地区：[1]黑龙江大学文学院,黑龙江哈尔滨150080

出　　处：《河北科技师范学院学报(社会科学版)》2025年第1期33-37,共5页Journal of Hebei Normal University of Science & Technology(Social Sciences)

摘　　要：《淮南子》是汉初景武之际的重要思想著作,一方面试图建立融汇百家的思想系统,一方面具有为建立大一统新秩序献策的政论性。具体到《淮南子》中音乐美学方面,“道”的境界即根源于“道”的音乐生成论,“事”的境界则是其发于“情”的音乐创作论,以上的两点作为脉络贯穿于“道”“情”共主的音乐观之中。As a pivotal ideological work spanning the reigns of Emperors Jing and Wu in early Han times,Huainanzi endeavors to establish a comprehensive ideological system that amalgamates the wisdom of numerous philosophical schools,and possesses a political commentary nature,offering strategies for the establishment of a unified new order.In the domain of musical aesthetics,The realm of“Tao”(the ultimate principle)is grounded in the musical ontogene-sis theory derived from“Tao”,whereas the realm of“Shi”(practical matters)emanates from the musical creation the-ory inspired by“Qing”(emotions).These two facets constitute the foundational framework that permeates the view of music in which both“Tao”and“Qing”are the co-dominant principles.

关 键 词：《淮南子》 道 情 音乐观 

分 类 号：J604.6[艺术—音乐]