著者

原 正幸

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.41, no.4, pp.11-21, 1991-03-31

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<<Sheng-wu-aile-lun>> is one of the most important musical writings in the history of Chinese music aesthetics. It overcame the difficulties of the Confucian view of music and established a new perspective, through an elaborated logical development. This is based on the six following theses : (i) <<mind and sound are two different things>> ; (ii) <<music has no constant correspondence with specific emotions>> ; (iii) <<music imitates nothing>> ; (iv) <<music has its own intrinsic harmonia (he)>> ; (v) <<the essence of music is to be found in a balance of emotions, or rather, the absence of emotional bias (pinghe)>> ; (vi) but at the level of its interaction with society, <<it is mind, as not bound to specific emotions, that is essential to music>>. Finally, the text prescribes the ideal way of music as a means to suggest the ideal state of mind for the purpose of cultivating life (yangsheng).