李贽的音乐美学思想及其基础

【作者】 徐海东；

【导师】 刘承华；

【作者基本信息】 南京艺术学院 ， 音乐学， 2011， 硕士

【摘要】 李贽的音乐美学思想及其基础是学界争论较多的一个问题,自蔡仲德先生1987年在《音乐研究》第一期上发表《从李贽说到音乐的主体性》一文后,至今已有十二篇关于李贽音乐美学思想的论文。这些论文的中心论点或交融、或对立,论述大都有据可循,也有一定的说服力。笔者在对这些论文研究时发现,儒家思想对李贽的影响一般都被研究者所淡化和忽略,把李贽作为一个“异端”对待。但李贽在其著作《初潭集》序言中却称自己为儒生,这说明他是以儒者自居的。被人称为“异端”也是环境所迫,不得以而为之的。从其生平看,李贽从中举到辞官,为官几十载,将近六十才辞官,儒家经世致用的思想显而易见;从其流传下来的著述看,《焚书》也好,《藏书》也罢,其高扬的还是儒家言行一致、知行合一、表里如一的君子正气。因此,在研究李贽音乐美学思想及其基础时,不能忽略儒家思想对其的影响。笔者在文中从李贽的三个重要的音乐美学命题入手,对这些命题的来源、内涵进行分析和整理后发现:第一,“声色之来,发乎情性,由乎自然”与先秦儒家孔子提出的“发乎情,止乎礼”并不是什么对立的观点,而是以儒家思想为基础的一种观点,是对孔子儒学思想一种新的阐释;第二,“声音之道可与禅通”这个命题,无论就命题本身来说,还是从李贽与佛学的关系来说,禅宗思想在李贽的思想中并不占统治地位。虽然佛学思想在李贽的思想中占有重要地位,但佛学以及禅宗思想的地位远远没有超过儒家思想。李贽研习佛学思想的初衷是为了解释儒学,理解儒学思想的核心精神。抽去儒家思想,李贽的所有思想都将成为无源之水。第三,“琴者心也”与“琴者禁也”并不是对立的观点,李贽只是引用了《白虎通》的观点。“琴者心也”这个命题与阳明心学有着很深的渊源,但李贽的“心”与阳明心学中的“心”内容并不一致。该命题的思想与心学思想相通,更与先秦儒家思想相通。第四,“童心说”的思想与李贽的重要命题一样,都是以先秦孔子儒家思想为基础的。笔者通过对三个命题和一种学说的分析得出的结论是:李贽的音乐美学命题及思想的基础并不是道家思想和佛学思想。李贽思想中的道家思想只浮于表面,佛学思想与易学思想、佛学与心学交织在一起,先秦儒家思想是其安身立命的基础,是他言与行的指南,是他所有音乐美学命题和思想的最主要的基础。更多还原

【Abstract】 The Li Zhi music esthetics thought and the foundation are educational world argument many questions, In 1987 on the first issue published from Mr. Cai Zhongde in "Music Research" "Spoke of Music after Li Zhi Independent" an article, until now had 12 about the Li engagement gift music esthetics thought paper。These papers and the central argument or opposition, or are there to be followed, there is compelling. I in this paper studies to find, confucianism is li zhi’s influence by researchers generally had to lighten, and ignored the li zhi as a "heresy". And li zhi in his works "preface tanji the early but to call themselves Confucian scholar, li zhi was to elevate Confucian scholar," heresy "are also being forced by circumstances to be allowed. In his life, li zhi sekuly to resign from office, secure an official position decades, nearly sixty years before with the confucian thoughts, obvious from the surviving composing, the book is set on fire, the library ", which gao yang or the action and integration, but a man of integrity. Therefore, the aesthetic thought li zhi music and its basis, should not overlook the influence of confucianism. I in the text from li zhi’s three important musical aesthetics proposition, Of these propositions of the source and content analysis and found :First, "might, from the love of nature," Of these propositions of the source and content analysis and found :Of these propositions of the source and content analysis and found :Of these propositions of the source and content analysis and found :However, both its own, or from li zhi and buddhism connections, zen in li zhi’s idea is no dominant. Although buddhism thought li zhi’s mind has an important position, but buddhism and zen the position is more than practised. Li zhi study buddhism of confucianism was intended to explain to the core spirit. "Confucianism. To confucianism, li zhi’s all ideas will be a source of water. Third, the "heart" with "disabled and the" is the point of view, Li zhi was referring to the point of view. bach ho road. The "heart" this proposition mingyang heart learn to have a very deep springs, But li zhi’s "heart" and mingyang heatr in the heart and not content. The proposition mind and heart to ideas, and communicates pre-qin confucianism. Fourth, "says" thinking childishness with li zhi’s important thesis, is based on the basis of pre-qin confucianism. I through three propositions and a theory behind the analysis of the conclusions is :Li zhi’s musical aesthetics and the basic proposition is not the taoist thoughts and ideas. buddhism Li zhi and the taoist thinking only up to the surface, buddhism thoughts and ideas, buddhism and heart that is easy to learn together, Pre-qin confucianism is the rest of his words and the guide, all his musical aesthetics statement and thought of the main basis.更多还原