本文探討音樂的淵源與其功能，專門推敲中古嵇康及大乘佛教的音樂觀。筆者把論述分析在兩個不同的美學領域——「無」與「空」。在此的「無」指的是魏晉王弼的「貴無」的形上思考，在此的「空」指的是大乘所談的空論。

筆者把嵇康所提出來的「和」解釋當作一種體性 (svabhāva) 之說，而且這個體性之說互文於王弼的無論，音樂的和諧狀態屬於形上的體性，作爲一種先天的存在物，我在此引用佛學的術語——體性解釋魏晉玄學，以佛解玄使王弼的無論歸根到底成爲了一種有論，這個有論使湯用彤的歸類——漢為宇宙論，魏晉為本體論，無法成爲可能，因爲宇宙論在希臘哲學文化上其目的就是尋找萬象背後的第一因或原動力，因此原子論（萬象不過是最爲基本的原子的運作）屬於宇宙論的一種考察，漢代的五行、氣象之說無法相比於原子論，因原子之說本來就含有本體的説法了（本體作爲最爲基本的原子），按照希拉哲學，宇宙論就是本體論的萌芽，所以我建議與其說魏晉為本體論，不如說魏晉作爲一種一元論（Monism）或絕對論（Absolutism），因王弼把所有的現象上的存在物解釋當作無論的化身，王弼的方法就是把「無」在形上絕對化，這個「無」中生有，這個「無」還是存在的，作爲一種先天的存在物，越非常有體性，所以無論就是體性論。

嵇康推論音樂的和諧狀態也呼喚了王弼的聲音，樂聲優先存在，跟我們的後天感受互不相干，音樂以平和為體，其功能就是感物無常，嵇康的方法論就是王弼的體用之說。因音樂以宇宙的和諧作爲自己的體性，所以嵇康的樂論比較偏向重視旋律 (melody)，因旋律可以反照大自然的形上的和諧。這個和諧狀態跟我們的語義也毫無關係，這些語義，比如：喜、怒、哀、樂、孔子聞韶等等，都是我們的後天感受，而且各有各的文化領域，無法跨越文化的疆域。我們的這些感受在聽音樂前本來早就已經形成了，而後被和聲引發出來。嵇康還說不同的樂器可以引發不同的感受，比如：琵琶容易引發快感，琴容易引發舒緩的感覺，這是因爲每種樂器各有各的傾向性，琵琶有傾向彈快節奏是因爲綫的部位放得比較近，琴有傾向彈慢節奏是因爲綫的部位放得比較遠，這不是說琵琶不能彈慢節奏或琴不能彈快節奏，那不過是一個樂器的趨向性而已。

因各種樂器有自己的傾向性，琵琶才容易引發激動的感覺，琴容易引發舒適的感受，這也不是說琵琶不能引發舒適的感覺，琴不能引發激動的感受，這談不上琵琶只有刺激、快樂的感覺，談不上琴只有緩慢、舒適的感受，此外這些趨向性也不過是拍節、音調的高低的組合而已，跟我們後天千變萬化的喜、怒、哀、樂沒有關係，音樂可以引發這些感受，可是樂聲本身沒有或擺脫掉這些感受，音樂的效果是無常的，一篇歡曲少年男女聽了歡欣鼓舞，有的老人聽了，老淚縱橫，因此我說嵇康的樂論是傾聽音樂的效果的相對論。

音樂的最高境界對嵇康來説是聽琴的神祕感，這個神祕感有兩種説法：（一）淡味、恬和淵淡（二）擺脫所有的喜、怒、哀、樂的那種境界，嵇康把擺脫哀樂的那個境界稱作「玄貞」（純潔的意思），第二個意義使他的樂論遠超過阮籍。

相比於樂聲的體性之說，佛教反而疑問樂聲是從哪裏來的？音聲不是形而上學的存在物，而是從我們的唯心來的，因出於我們的唯心，樂聲是唯心作也，它彷佛一種幻影或雲煙，無體性，這個幻影是般若而來的現象，它生起、維持、變質、消滅，一旦我們擺脫掉心的相應染（虛擬二元對立的思辨，比如：動/靜、明/暗等等），這個聲音的存在就站不住了。樂聲不過是我們的唯心作也，沒有體性。因音聲本無體性，佛樂才偏向重視所有現象的音質 (acoutics)，這個音質範圍很廣，從心裏念經、念佛的節奏拉到普薩本願的維持狀況（如：阿毘跋致 (Avivartin) 的嚮往、修身與他們的能聞性），還包含天樂、梵唄、聲唄、咒，沉思現象上的音質成爲達空、完成佛性的一個重要手段。

This thesis attempts to explore the origin of music, and its function in Medieval China, which were represented by Ji Kang, and Mahayana Buddhism, by means of locating them into two aesthetic traditions——Wu (Nothingness), and Kong (Emptiness). Wu in my discussion refers to Wang Bi’s guiwu (Nothing-ism) of Wei-Jin Dynasties, and kong refers to Theory of Sunyata in Mahayana Buddhism.

I argue that Ji Kang’s notion on he (harmony) in music essentially is a kind of a svabhāva (a substantial being), and its ontological elaboration has an intertextual connection to Nothing-ism of Wang Bi, that is, a musical harmony is attributed to a state of svabhāva as a priori being in Metaphysics. I here apply Mahayana term——svabhāva to reinterpret Xuanxue (Mysterious Learning) of Wei-Jin Dynasties. By reinterpreting Wei-Jin Xuanxue under the lens of Mahayana Buddhism, Wang Bi’s wulun (Nothing-ism) cannot escape from youlun (Thing-ism), and meanwhile it makes Tang Yongtong’s philosophical categorization——Han wei yuzhoulun (Han as Cosmology), Wei-Jin wei bentilun (Wei-Jin as Ontology) theoretically impossible for the reason that Cosmology in Greek culture is to find out a universal ground, or First Cause, or Prime Mover behind all phenomena, so Atomism in Greek thought originally belongs to a cosmological speculation. Wuxing (Five Agents), and qixiang (Vital Force) in Han thought cannot be compared to Atomism, because Atomism initially includes an ontological speculation to explore in depth the Prime Mover. According to Greek philosophy, Atomism is considered as an inception of a science in modern sense. For this reason, I propose that Nothing-ism should be considered as a kind of Monism, or Absolutism more than Ontology, for Wang Bi tries to absolutize Wu in terms of metaphysics, that is to say, wu gives birth to you, or wu zhong sheng you, wu remains an ontological ground as a priori existence, that firmly occupies a state of svabhāva, so Nothing-ism is a kind of Thing-ism.

When Ji Kang elaborated his notion on musical harmony, it evokes Wang Bi’s ontological voice, that is, music is a state of a priori being in metaphysics which does not concern a posteriori sentiments, for music takes a harmony as its self-entity, and effects listeners variably. Ji Kang’s methodology echoes Wang Bi’s concept of tiyong (Substance and Function). Because music takes a cosmological harmony as its svabhāva, Ji Kang’s musical thought is prone to emphasize on a melodious quality, for it is able to represent a metaphysical harmony in Nature. Its melodious quality transcends our a posteriori sentimentalism, such as, sorrow, and joy, or even in any auditory rendition by Kongzi. Musical effect has its own cultural boundary which is not universal. Ji Kang argues that our sentiment has been already formed in our mind before it is triggered, and transmitted outwardly by a harmonious sound. Ji Kang discusses that each musical instrument can trigger different sentiments, such as, lute (pipa) is likely to trigger an exciting sentiment, zither (qin) is tend to trigger a relaxing emotion, for each musical instrument has its own innate tendency. Due to its own characteristics, lute is tend to produce a fast melody, for its strings is close to each other, and zither is tend to perform a slow melody, for its strings is rather far to each other, but it cannot be said that lute cannot produce a slow melody, and vice versa. Thus, lute is easy to trigger an arousing sentiment, and zither is easy to trigger a cozy feeling, but it does not mean that lute cannot trigger a cozy feeling, and zither cannot trigger an arousing sentiment. It is merely an intrinsic tendency of each instrument. Moreover, its tendency is just a combination of rhythms, beats, and pitch which does not concern our a posteriori affection, varying to time, space, and each person. Music can trigger our affection, but music itself transcends our affection, and its psychological effect is inconstant, or wuchang. Young people feel high-spirited when they listen to a piece of joyful melody, but old people maybe feel tearful. This is the so-called a relativism of psychological effect by music, discussed by Ji Kang.

The idealistic realm of music for Ji Kang is a kind of mysticism in listening to zither. This mystical feeling can be classified into (1) a flat taste, or danwei, and (2) an absence of sentiments in music, or sheng wu aile, Ji Kang called the latter as “pure,” or xuanzhen, the latter signification makes an instrumental melody transcend our sentiments, and meanwhile it makes his musical thought outdistance Ruan Ji’s musical notion.

Compare to the concept of svabhāva in Ji Kang’s musical thought, Mahayana Buddhism questions, and discusses critically its illusory origin. Musical sound is not svabhāva in metaphysics, but it derives from our Mind-only, or weixin. Because it comes from our Mind-only, music is a fabrication of Mind-only, or weixin zuo as asvabhāva, as though an illusion, or maya. Our ideation is tathata, or a suchness as a cognitive process in phenomenology, namely, it is created, maintained (under some conditions), transient, and annihilated, whenever we go beyond a defilement associated with binary discrimination, or xiangyingran of mind, such as movement/non-movement, darkness/brightness, etc., the so-called an entity of sound is deconstructed. Because music is a construction of Mind-only as asvabhāva without any content in itself, Buddhist’s music tends to focus upon acoustics in all auditory phenomena. Acoustics can be extended from one’s mental rhythm, nianfo (Mindfulness of Buddha), to Bodhisattva Vows, or fa putixin, Avivartin’s listening ability, Celestial Sound, or Tianyue, liturgical chant, or fanbai, and dharani, or zhou as skillful means, or upaya to attain Sunyatabhava, and to complete his or her Buddhahood.

王弼著作
王弼：《王弼集校釋》，北京：中華書局，1980。
王弼：《周易略例》，北京：中華書局，1980。

嵇康著作
嵇康：《嵇康集校注》，臺北：河洛圖書出版社，1978。

電子佛經
（秦）三藏鳩摩羅什譯：《維摩詰所說經》，《大正新脩大正藏經》，CBETA，
第十四冊。
（秦）天竺三藏鳩摩羅什譯：《金剛般若波羅蜜經》，《大正新脩大正藏經》，
CBETA， 第八冊。
（秦）罽賓三藏佛陀耶舍共竺佛念等譯：《四分律》（卷第三十五），《大正新脩
大藏經》，CBETA，第二十二冊。
（秦）龜茲三藏鳩摩訌什譯：《佛說阿彌陀經》，《大正新脩大正藏經》，
CBETA，第十二冊。
（秦）龜茲國三藏鳩摩羅什譯：《摩訶般若波羅蜜經》，《大正新脩大正藏經》，
CBETA，第八冊。
（魏）天竺三藏康僧鎧譯：《佛說無量壽經》，《大正新脩大正藏經》，CBETA，
第十二冊。
（唐）天竺三藏善無畏共沙門一行譯：《大毘盧遮那成佛神變加持經》，《大正新
脩大正藏經》，CBETA，第十八冊。
（唐）天竺沙門般剌蜜帝譯：《大佛頂萬行首楞嚴經》，《大正新脩大正藏經》，
CBETA，第十九冊。
（宋）天竺三藏求那跋陀羅奉詔重譯：《拔一切業障根本得生淨土神呪》（出小無
量壽經），《大正新脩大正藏經》，CBETA，第十二冊。
（宋）中印度三藏求那跋陀訌譯：《勝鬘師子吼一乘大方便方廣經》，《大正新脩
大正藏經》，CBETA，第十二冊。
西天譯經三藏朝散大夫試鴻臚卿宣梵大師賜紫沙門臣日稱等奉詔譯：《諸法集要經
卷第一》，《大正新脩大藏經》，CBETA，第十七冊。
馬鳴菩薩造，大周于闐三藏實叉難陀奉制譯：《大乘起信論》（大正新脩大正藏
經，CBETA，第三十二冊。
龍樹菩薩造，梵志青目釋，（秦）三藏鳩摩羅什譯：《中論》，《大正新脩大正藏
經》，CBETA，第三十冊。
龍樹菩薩造，（後秦）龜茲國三藏鳩摩羅什譯：《大智度論》，《大正新脩大正藏
經》，CBETA，第二十五冊。
龍樹菩薩造，（後魏）三藏毘目智仙共瞿曇流支譯：《迴諍論》，《大正新脩大正
藏經》，CBETA，第三十二冊。
彌勒菩薩說，（唐）三藏法師玄奘奉詔譯，《瑜伽師地論》，《大正新脩大藏
經》，CBETA， 第三十冊。

古籍文獻
（春秋）左丘明：《國語》，臺北：宏業書局，1980。
（戰國）《十三經注疏》，阮元編輯，臺北：藝文印書館，1814。
（漢）京房等（著）、（明）程榮（校）：《漢魏叢書》，臺北：新興書局，
1959。
（漢）應劭：《風俗通義》，上海：上海商務印書館，1936。
（漢）劉向（編）：《楚辭章句補注》，臺北：世界書局，1956。
（魏）阮籍：《阮籍集校注》，北京：中華書局，1814。
（晉）王衍：《晉書》，北京：中華書局，1974。
（晉）郭璞：《莊子集釋》，臺北：河洛圖書出版社，1974。
（南朝）李善：《文選：附考異》，臺北：五南圖書公司，1991。
（南朝）劉義慶：《世說新語》，臺北：臺灣商務印書館，1968。
（南朝）范曄：《後漢書》，北京：中華書局，1965。
（南朝）蕭統、李善：《文選》，北京：中華書局，1977。
（南朝）鍾嶸，《詩品》，曹旭集注：《詩品集注》，上海：上海古籍出版社，
1994。
（隋）智顗：《淨土十疑論》（印贈版本），財團法人佛陀教育基金會，無年。
（唐）慧皎：《高僧傳》，臺北：文殊出版社，1988。
（唐）魏徵等：《隨書》，上海：中華書局，1923。
（清）段玉裁：《說文解字注》，上海：上海書店，1992。
（清）陳祚明：《續修四庫全書》，上海：上海古籍出版社，2002。
（清）劉熙載：《藝概》，上海：上海古籍出版社，1978。
（清）盧文弨：《抱經堂叢書》，北京：智力書局，1923。
（清）嚴可均：《全上古三代秦漢三國六朝文》，北京：中華書局，1985。

中文近人著作
中國佛教協會（編輯）：《中國佛教》（第二冊），北京：知識出版社，1981。
中華書局編輯部：《全唐詩》，北京：中華書局，1999。
方述鑫：《甲骨文字典》，成都：巴蜀書社，1993。
王國維：《觀堂集林》，北京：中華書局，1959。
王夢鷗（註譯）、王雲五（主編）：《禮記今註今譯》（下冊），臺北：臺灣商務
印書館，1984。
吳冠宏：《魏晉玄義與聲無新探》，臺北：里仁書局，2006。
李澤厚、劉鋼紀（主編）：《中國美學史》，臺北：谷風出版社，1987。
來可弘：《國語直解》，上海：復旦大學出版社，2000。
周法高：《金文詁林補》，臺北：中央研究院歷史語言所，1997。
馬承源（編輯者）：《商周青銅器銘文選》（第四冊），北京：文物出版社，
1990。
高友工：《中國美典與文學硏究論集》，臺北：臺大出版中心，2004。
國立政治大學中文系所主編：《漢代文學與思想學術研討會論文集》，臺北：文史
哲出版社，1991。
張少康：《中國文學理論批評史》（上冊），臺北：水牛出版社，2005。
張守中：《郭店竹簡文字遍》，北京：文物出版社，2006。
張君勱：《中國現代學術經典 • 君勱卷》（黃克劍、王濤編輯），石家莊：河北教
育出版社，1996。
張蔭麟：《中國史綱》，上海：上海古籍出版社，1999。
郭沫若：《郭沫若全集》（上冊），北京：科學出版社，2002。
陳必祥：《歐陽修散文選》，香港：三聯書店，1990。
陳奇猷（校）：《韓非子集釋》，北京：中華書局，1961。
曾永義、黃啓方（主編）：《注音詳解古今文選》（第十二集），臺北：國語日報
社，2002。
湯一介：《佛教與中國文化國際學術會議論文集》，臺北：中華文化復興運動總會
宗教研究委員會，1995。
湯用彤：《理學 • 佛學 • 玄學》，北京：北京大學出版社，1991。
湯用彤：《湯用彤學術論文集》，北京：中華書局，1983。
湯用彤：《魏晉玄學論稿》（1957），北京：中華書局，1983。
湯用彤著，湯一介編：《魏晉玄學》，臺北：佛光書局，2001。
紫虛居士：《大佛頂首楞嚴經》（未出版之著作）。
逯欽立（校）：《先秦漢魏晉南北朝詩》，北京：中華書局，1983。
馮友蘭：《民國叢書》，上海：上海書店，1996。
楊勇（校）：《陶淵明集校箋》，加州：正文書局，1976。
載璉璋：《玄智、玄理與文化發展》，臺北：中研院文哲所，2002。
劉興隆：《新編甲骨文字典》，北京：國際文化出版社，1993。
蔡仲德：《中國音樂美學史》，臺北：藍燈文化公司，1991。
蕭馳：《中國抒情傳統》，臺北：允晨文化公司，1999。
賴永海、楊維中：《楞嚴經新譯》，臺北：三民書局，2012。
錢鍾書：《管錐編》，北京：中華書局，1994。
謝大寧：《歷史的嵇康與玄學的嵇康──從玄學史看嵇康思想的兩個側面》，臺北：
文史哲出版社，1997。
謝柏梁：《中國分類戲曲學史綱》，臺北：臺灣商務印書館，1994。
藍吉富（主編）：《中華佛教百科全書》，中華佛教百科文獻基金會出版，1996。
羅光：《中國哲學思想史》，臺北：臺灣學生書局，1978。
釋興慈：《重訂二課合解》，福建：莆田廣化寺佛經流通處印，無年。

中文期刊論文
吳冠宏：〈當代《聲無哀樂論》研究的三種論點商榷〉，《東華漢學》第3期，頁
109。
馮友蘭：〈魏晉玄學貴無論關於有論的理論〉，《北京大學學報》（哲學社會科學
版）1986：1：11-18。
蕭馳：〈嵇康與莊子超越境界在抒情傳統中之開啟〉，《漢學研究》第25卷第1期
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外文中譯
（德）瓦格納著、楊立華譯：《王弼《老子注》研究》，南京：江蘇人民出版社，
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馮友蘭著、趙復三譯：《中國哲學簡史》(A Short History of Chinese
Philosophy)（中英對照），天津：天津社會科學院出版社，2007。

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西文索引
A Concordance to the Zhuangzi (Harvard Yanjing Concordance
Series).

西文學位論文
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Ontological Paradigm and the Transformation of Chinese
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San Diego. Ann Arbor: 2001.
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