老子音乐美学思想与相关艺术审美

【作者】 何艳珊；

【导师】 李起敏；

【作者基本信息】 中央音乐学院 ， 音乐美学， 2011， 博士

【摘要】 “道”与“艺”的关系是理解中国古代艺术理论的核心与关键。本文以文献为依据,对中国古代音乐美学史上的“道”“艺”关系进行了历时考察,总结了《老子》之“道”与艺术内在相通的三个维度以及体现在音乐美学史上的两大特征,阐释了《老子》之“道”逐渐与音乐艺术相通相融的历史轨迹,并进而延展至具有中国特色的相关艺术审美方式和审美理想。《老子》之“道”的影响不仅表现在历代道家音乐美学思想中,对于儒家的音乐美学思想同样具有重要的影响。故本文将儒道两家视为一个互补的整体来考察“道”与中国古代音乐美学特征的内在关系。笔者将“道”“艺”关系分为“道艺相通”、“以艺求道”、“道以艺显”、“艺道相融”四章来叙述,分别通过论述“道”对艺术审美的本体、方法及评价的影响。首先,《老子》之“道”对于古代艺术本体具有重要影响。这种影响体现在音乐中的“气”和“象”两个方面：一方面,“气”作为艺术的本源影响了古人对艺术本体的认识。古人普遍认为“气”的运动、发展和变化的规律既是“道”运动和变化的体现同时也是音乐艺术的规律,因此“道”与“艺”是内在相通的。另一方面,“象”在古代美学史上是一个重要的本体范畴。《老子》首次指出“象”是“道”的显现,故“象”中有“道”,“象”也可寓“道”。这一思想经过王弼等人的发展对后世艺术理论产生了重要影响。总之,“象”是“气”的感性表现,“气”是“象”的内在机心,“气”和“象”共同构成了古代艺术的本体理论。其次,《老子》悟道的方法对古代艺术审美方法具有重要影响。《老子》首次提出悟“道”的方法是“致虚极,守静笃”、“专气致柔”,也就是说主体通过去除一切欲望恢复到“无知”、“兀欲”的先天本性时就可以与“道”相通。《庄子》的“坐忘”、《吕氏春秋》的“节欲”、《淮南子》的“损欲从性”、《乐记》的“存天理,节人欲”等思想都是《老子》的悟道方法在音乐美学思想中的体现。笔者认为,“去欲”的方法使得《老子》影响下的中国美学成为一种内在美学、心灵美学。它更为注重音乐审美者内在的修养和心灵的自由。再次,《老子》思想深刻地影响了中国古代艺术理论对于“美”的认识。《老子》影响中国古代音乐美学评价出现了两大特征：一是“以和为美”的传统。“和”充分体现了古人对于“美”的辩证认识；二是将“合”作为最高追求,如“天人合一”、“艺道合一”的思想。“天人合一”的境界也就是“道通为一”、“物我两忘”的境界,是审美的极致,也是中国古代音乐美学追求的最高理想。总之,“以和为美”和“天人合一”所体现的“和”“合”精神是中国古代音乐美学评价的两大根本特征。综上所述,笔者认为《老子》思想影响到了中国古代艺术的本体、方法和审美评价等诸多方面。《老子》之“道”与艺术的融合使得中国古代的艺术总是体现着回味无穷的韵意和对至善至美的追求。“艺”与“道”的合一,是艺术的人生化,也是人生的艺术化,是审美境界与人生境界的合一。这对于当今的艺术审美具有重要的启发意义。更多还原

【Abstract】 The relationship between "Tao" and "Art" is the key to understand the spirit of Chinese art. Based on the literature, this article investigated historically the relationship between "Tao" and "Art" of ancient Chinese music aesthetics, summed up the inherent similarities in three dimensions between "Tao" of Lao-tzu and music art, as well as the two characteristics on history of music aesthetics, explained the history of the interlinked "Tao" of Lao-tzu and music art, and thus extended to the related aesthetic method and aesthetic ideals with Chinese characteristics.The assertion of "Tao" from Lao-tzu had a major impact on the aesthetics of Chinese ancient music. It’s not only embodied in ancient Taoist music aesthetics, even had important influences to the Confucian music aesthetics. Therefore, this article took Confucianism and Taoism as a whole to observe the intrinsic relationship between "Tao" and the characteristics of entire ancient Chinese music aesthetics.The auther discussed the relationship between "Tao" and "Art" from four aspects——connection of "Tao" and "Art", get "Tao" through "Art", show "Tao" in "Art", fusion of "Tao" and "Art"——to describe the influences of "Tao" to the ontology, methodology, and evaluation of art aesthetics.Firstly,"Tao" of Lao-tzu had impact on the ancient art ontology,which are from two dimensions as "Qi" and "Image".At first,as the origin of art, "Qi" had affected fundamentally the realization of ancient people about art ontology:Ancient people generally considered that the laws of movement, development and change of "Qi" reflects the movement and changes of "Tao", and it’s also the regular pattern of music art at the same time, so "Tao" and "Art" are intrinsic interlinked. Second, in the history of ancient aesthetics,"Image"is an important ontology category. Lao-tzu demonstrated close relations between "Tao" and "Image" for the first time. It considered that "Image" is the appearance of "Tao", therefore "Image" had "Tao" in it, and "Image" can represent "Tao". This idea developed through Wang Bi’s research, and had impact on the later artistic theory.In summary, "Image" is the perceptional expression of "Qi", and "Qi" is the internal spirit of "Image", and both constructed the noumenon theory of ancient art.Secondly, the methods of understanding and attaining Tao in Lao-tzu had a deep affection on the method of Chinese ancient artistic aesthetics.Lao-tzu suggested to understand "Tao" must be "achieving extremely emptiness, keeping utmost quiet" and "to give undivided attention to collect Qi, bring it to the utmost degree of pliancy",which means the main body went back to nature of "ignorant" and "voiding desire" by discarding all desires, and this can be interlinked with "Tao". "Zuowang" in Zhuang-zi, "continence" in Master Lu’s Spring and Autumn, "Sunyucongxing" in Huainanzi,"cherish heaven laws, deny human desires" assertion from Yueji, were the represent of meathods of understanding and attaining Tao in music aesthetic idea.The author considered that the method "Quyu" made Chinese Aesthetics affected by Lao-tzu become a kind of internal and spiritual aesthetics.It paid much attention to the inner cultivation and the spiritual freedom of the aesthete.Thirdly, the idea of Lao-tzu deeply affected the theory of Chinese ancient art on "beauty". With the effect of Lao-tzu, Chinese ancient music aesthetics had two major features:the tradition taking "harmony" as "beaty",which present dialectical understanding of "beauty" by ancient people; made "unity" the highest pursuit, acting as tradition of "unity of heaven and people" and "unity of Tao and Art".This kind of view is as"Dao tong wei yi","wu wo liang wang"as the superlative aesthetic,and it became the highest ideal of Chinese ancient music aesthetics. In summary, "harmony" and "unity" spirit were two major characteristics of Chinese ancient music aesthetic evaluation.In conclusion, the author believed that the idea of Lao-tzu had an impact on the noumenon, the methodology and the esthetic appraisal of Chinese ancient art. The merge of "Tao" and "Art" in Lao-tzu always added profound meaning lingering charm and pursuit of perfection to Chinese ancient art. The unity of "Tao" and "Art" are both art of life and life of art, and it’s the unity of aesthetic realm and realm of life. It has an important enlightenment to the artistic aesthetics nowadays.更多还原