試析〈聲無哀樂論〉之玄理

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Date

1997-03-??

Authors

謝大寧

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國文學系
Department of Chinese, NTNU

Abstract

嵇康的「聲無哀樂論」一直是中國音樂美學,也是道家美學的一篇重要文獻,但歷來的詮釋者,似乎均未能將此文之樂理和道家之玄理作緊密之扣合,致使此文的詮釋始終存在著不小的漏洞。本文之作,即旨在嘗試以中國音樂美學中「聲、音、樂」三分的結構,來指出嵇康此文思路的滑轉;其中最重要者,尤在「和」這一概念上所出現的歧義。筆者在指出此一歧義之餘,並嘗試以「境界之和」這一概念,作為此文之義理歸宿,以為稽康思想之詮釋更進一解。
The essay “聲無哀樂論” by Zhi-kan (稽康) has long been established as a milestone in Chinese acoustic aesthetics and Taoist aesthetics. But so proposed in this essay and the Taoist wisdom, hence missing the proper appreciation of this important essay. I try to formulate here a synthesis of the trilateral property of Chinese acoustic aesthetics, namely “sound, voice-quality, music” “harmony”. In other words, while resorting to this bifurcation and making “the harmony of higher order” (境界之和 the center point of this essay, I also believe a better understanding of its is under way.

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