阮籍與嵇康的樂論

The Music Theory of Ruan Ji and Ji Kang

10.7065/MRPC.201010.0137

曾春海(Chun-Hai Zeng)

阮咸 ； 阮籍 ； 嵇康 ； 樂論 ； 琴賦 ； 聲無哀樂論 ； 竹林七賢 ； 音樂 ； Ruan Xian ； Ruan Ji ； Ji Kang ； Yue Lun ； Qin Fu ； Sound without Sadness and Happiness ； Seven Virtuous of Bamboo ； Music

哲學與文化

37卷10期（2010 / 10 / 01）

137 - 158

繁體中文

能詩能文、善飲酒、喜山水、好音樂是竹林七賢共同的生活情趣和人格特質。阮籍、嵇康的琴藝、長嘯，多見於文獻，而阮成擅長音律及彈奏琵琶也有史料可徵，可惜的是劉伶、向秀、王戒、山濤在音樂的表現，目前為止，仍無可資論述的史料。因此，本文僅就文獻足徵的阮籍與嵇康兩人為主要對象，阮籍少年時代慕好顏回、閔之騫，懷淑世之志，潛修內聖成德，向外建功立業的儒學。他在這一時其著有〈通易論〉及〈樂論〉、嵇康多才多藝，特別是在古琴方面的造詣頗深，且有評價頗高的論琴樂之專書。此兩人是摯友，也是竹林七賢的核心人物，他們在樂論上，將音樂審美的判準共同訴諸道家視為天地之宗、萬化之源本根，「道絕對和諧的本體性徵上，可是兩人同源殊途，阮籍較側重在音樂和善人心、移風易俗的德、治教化功能上，嵇康論樂與其〈釋私論〉一文中『越名教任自然』的立論相呼應，側重在音樂的自律性，將音樂於教化的依附地位上超越出來，企求建立－人與道冥合的音樂美學以及至人達此境而至樂的見解，固然，本文彩對比性的研究方法試圖從阮籍的〈樂論〉要旨、阮籍〈樂論〉的問題意識及理想目標；嵇康的〈琴賦〉與〈聲無哀樂論〉等方面，分別紹述他們的音樂才華之表現，分析評價他們對音樂的概念理解及音樂功能與價值上的見解。

Poetry, alcohol, nature and music are the common life interests of the ”Seven Virtuous of Bamboo”, and these interests most definitely form their personal temperaments. This paper focuses solely on the music theory of Ruan Ji and Ji Kang, who are the most representative figures among the seven men, since historical documents which remain concerning the other five are insufficient. In his Youth, Ruan Ji was an admirer of Yan Hui and Min Zhi Qian and studied Confucianism, a philosophy which emphasized both self-cultivation to gain sagehood and the embracement of worldly affaires to achieve merit. During this period, he had finished the two texts Tong Yi Lun and Yue Lun. Ji Kang was versatile and remarkably expert at ancient stringed instruments, and had written a book on string music which was highly appraised by succeeding generations. Ruan Ji and Ji Kang were close friends and were key figures in the ”Seven Virtuous of Bamboo”. In terms of music theory, they both attributed aesthetic criterion to the substantial characteristic of the Dao, which is the root of heaven and earth, as well as the root of changes in worldly things. However, Ruan Ji and Ji Kang still differed in their views on music. Ruan Ji laid more stress on the educational function of music in terms of ethics, which serves as the means of cultivating man's heart and transforming social traditions. On the contrary, Ji Kang's music theory, corresponding to his belief in ”surpassing Confucian standards and following nature” in the text Shi Si Lun, placed a greater emphasis on the autonomy of music so that music frees itself from its educational function. Consequently, Ji Kang formed his aesthetic vision of the union between man and the Dao, in the status of which the Perfect man achieves Perfect happiness. By contrasting the music theory of Ruan Ji with that of Ji Kang, this paper will introduce their respective performances and talent, and as well analyze their diverse ideas on musical concepts, functions and values.

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