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《易传》对《乐记》音乐美学思想的影响——兼谈《乐记》中两个相互游离的美学观
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摘要：《乐记》受到了《荀子》和《易传》的影响，由此形成了两种根本不同的美学观。其中源于《荀子》一系的美学思想以现成性的世界为哲学基础，认为音乐的源泉在于心与物相感；而源于《易传》一系的美学思想则以生生性的生活世界为哲学基础，认为音乐以生活世界的本体为源泉。在以西方主客二元文化为主导的现代语境中，现代人对源于《荀子》的美学思想有明确的理解，但对源于《易传》的美学思想却发生了十分严重的文化“误读”，以致于多数现代学者将其全盘否定。其实，只有来自《易传》的美学思想才是《乐记》理论的精华，它真正代表了中国美学的精神，是西方传统文化难以解读的中国学术思想，是中国人对世界文明的独特贡献。
关键词：易传；乐记；礼乐；心；物；天；地
Yi Zhuans influence on the musical aesthetic ideology in Yue Ji:
Simultaneously on the two incompatible aesthetic outlooks in Yue Ji
Abstract: The book of Yue Ji (Records of Music) was impacted by ideologies dwelling in Xun Zi and Yi Zhuan, resulting in two incompatible aesthetic viewpoints: One originated from Xun Zi bases upon the formative world outlook and insists that music comes from the minds response to the external world; the other originated from Yi Zhuan bases on the philosophy that the world is ever changing and maintains that music roots in the living world per se. In the modern language atmosphere of western dualistic culture with subject and object separated, people have a clear comprehension on the former viewpoint, whereas misread the latter as seriously as such that a majority of modern scholars deny it completely. In fact, as a particular contribution of Chinese people to the world civilization, it is the latter, which genuinely represents Chinese aesthetic spirits and difficult to be comprehended by western culture, that forms the theoretic essence of Yue Ji.
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