嵇康《声无哀乐论》对艺术感应论的解构

嵇康强调音乐的自然本体论,将音乐从宗教和神灵附庸的地位中解放出来,实现了艺术的自律,使音乐摆脱了外在功利目的束缚,也肯定了音乐形式的独立审美价值。从另一个角度看,嵇康的《声无哀乐论》与汉末王充对谶纬神学的批判一脉相承,以机械唯物论和实证论来衡量音乐艺术,否定了艺术的情感蕴含,否定了艺术夸张和想象的价值,同时也消解了艺术的神性光晕。嵇康否定艺术情感内涵的目的在于否定艺术与天地神人感通的神秘维度,进而消解统治者对艺术神秘作用的利用,但天人感应的艺术观念依然存在于嵇康及其同时代人的作品中,这意味着"声无哀乐论"并不能在艺术实践中得到充分体现。神秘是人对世界的一种特殊感知和体验。嵇康对艺术神秘性的极端否定具有矫枉过正的敝端。与其说"声无哀乐论"是一种深思熟虑的音乐思想,不如说它是嵇康反叛名教政治态度的一种极端表达。

The Deconstruction of Artistic Interaction in JI Kang’s Sound without Sorrow and Joy

JI Kang emphasized the natural ontology of music and liberated music from the dependency of religion and gods, realizing the self-discipline of art, making music get rid of the bondage of external utilitarian purposes, and confirming the independent aesthetic value of music form.From another point of view, JI Kang’s Sound without Sorrow and Joy was in line with WANG Chong’s criticism against Chenwei theology in the end of Han Dynasty, which used mechanical materialism and positivism to gauge music art, denying the emotional implication of art as well as the value of artistic exaggeration and imagination, and at the same time dispelling the divine halo of art.The purpose of JI Kang denying the connotation of artistic emotion lay in denying the mysterious dimension in which art had an emotion in common with heaven, earth, man and god, thus to preclude the ruler from taking advantage of mysterious effect of art.However, the artistic idea of the interaction between Heaven and Man still existed in the works of JI Kang and his contemporaries, which meant the theory of sound without sorrow and joy could not be fully embodied in artistic practice.“Sound without Sorrow and Joy” was not so much as a thoughtful musical idea as an extreme expression of JI Kang’s political attitude against major religion.