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四川大学 硕士论文 导师：李刚

中文摘要 道教内炼学与中国器乐文化是同属于中国传统文化的两个不同学科领域，前者是宗教，后者是音乐，但两者在“天人合一”的最高证道鹄的的共同追求下却呈现出高度凝合的姿态。“天人合一”作为联系道家道教哲学、美学、内炼学与中国器乐文化的桥梁和纽带，成为沟通两者内在关系的中介，它是本文论述的基本出发点和最终归结点。为此，本文具体分析说明了“天人合一”是道教内炼学与中国器乐文化理论、实践体系的最终哲学归宿及最高境界和最终理想。绪论：首先对“道教内炼学”与“中国器乐文化”的外延和内涵进行界定，并概括两者在本文中所涉指的范围。“道教内炼学”是指道教养生术中专门阐论身心炼养的一门学问，它不包括服食养生学和外丹术，从内修外养的角度，它专指内修一门，它具体包括对修炼者身与心的调控、炼养与开发，具体来说，道教内炼学主要涉及道教哲学、美学、内炼学三个方面，道教哲学、美学不是一个独立的部分，它是道教内炼学的基础：“中国器乐文化”是指古往今来一切旨在涵载中华民族器乐艺术的各种文化心态，包括中华民族所认同的乐器形制的演变与流革、历代音乐家、器乐作品、演奏手法、理论体系、传承方式、记谱法、乐律、创作手法、美学、哲学等方面的内容；简言之，“道教内炼学与中国器乐文化研究”主要涉及道教哲学、美学、内炼学对中国器乐文化演奏、美学、音乐学、音乐教育范畴的影响和具体运用，并不专门涉指道教音乐，道教音乐仅作为本文的例证之一，另外，本文所提到的“音乐”将“器乐”涵盖在内，论及的中国音乐特色即包括器乐文化。同时绪论分析了中国器乐文化回归本土传统文化的外在趋势——全球音乐文化发展向东方音乐或第三世界音乐的逆转与回流以及内在动因——道教内炼学与中国器乐文化在“天人合一”哲学 美学观上的高度统一性，并阐明了本文论点:道家道教文化是中国器乐文化回归根抵。此外，绪论还对本文的研究方法及创新点作了说明。第一章，虚静:宗教与艺术永恒的主题是超越，静心是将超越理论付诸实践的第一步。从“虚静之心”到“虚静之音”再到“虚静人生”，体现了道家道教“虚静”观、“虚静”法对中国器乐文化“虚静”观理论与实践的巨大影响: 中国器乐文化“虚静”观理论上的体系建构体现为先秦时期老庄“虚静”音乐本体审美观—魏晋时期玄学超逸音乐审美观—明清时期《豁山琴况》对虚静音乐审美观的总结，道家道教“虚静”观、“虚静”法对中国器乐文化实践中的巨大影响体现为收心去欲—物我两忘—“大美”、“大音”三层审美境界的渐次升华。 第二章，炼气:老庄道家是中国古代哲学气一元论思想的确立者，老庄道家关于“气”的中介作用的描述奠定了道家道教哲学、美学、内炼学的理论基础，同时亦直接影响了中国古典艺术“气韵”论美学境界的生成。文中对“气” 与“韵”以及“气韵”与“神韵”(或“传神”)等概念的细微差别进行了比较，从中可见道家道教“气”本体论定位的全面性与准确性;道家道教“气”本体论既是中国器乐文化“气韵”论诊释的起点，又是其淦释的落点，其间，“化气成韵”、“气韵本乎游心”、“气韵的生知与学养”以及“气韵的心灵状态”等要点都体现了道家道教哲学影响的深厚根基。另外，本章还从道教内丹性命双修的角度阐释中国器乐文化形神并重、性命双修的基本演奏训练路线，音乐之“气道”—“精气神”成为实现其“形神俱妙”追求的必由之路，同时亦引申出中国器乐文化教学方法的新尝试—“气”的口传心授的探讨。 第三章，逆返:道教内丹逆返修炼指道教内丹修炼运用“形一精一气一神一虚一道”的反向运炼实现人体精气神反演回归道的修炼方式。本文受道教内丹逆返思维启发，总结出中国器乐文化的四个逆返原则:一、从反面入手达到目的效果;二、力的逆返:三、从“有为”之法到“无为”之境;四、中国器乐文化是一个返璞归真的实践，同时归纳出“中国器乐文化之逆返思维”命题，力图将“中国器乐文化之逆返思维”具体化、系统化、明确化、理论化，并把它定义为:“与道教内丹逆返修炼相似的、以逆返思维为特征的、使中国器乐文化达于‘希声’之境的思维方式。”这是本文的又一创新点之一，进而在中国器乐文化中大胆实践内丹逆返思维，走出一条不同于西方器乐理论，而独具中国器乐文化特色的演奏之路。 2 第四章，圆和:受道家道教“圆和”观影响，中国器乐文化反映出大量“圆和”特色。理论上，《吕氏春秋》的“和”、“适”音乐审美观—稽康《声无哀乐论》中“音声有自然之和”的音乐本体审美观—《籍山琴况》对琴乐以“和” 为美思想的总结勾勒出了一条中国器乐文化“圆和”理论主线;实践上，中国器乐文化“音圆和”、“句圆和”、“体圆和”的实际推行彰显和映证着道家道教 “圆和”思想，尤其是中国器乐文化“体圆和”要求:虎口圆、手心圆、手指圆、线条圆、“S”线型游动以及音腔的圆润处理等问题都与太极图的一一对应，更是中国器乐文化与道家道教“圆和”观吻合的最好明证。 第五章，贵柔:“贵柔”是老子思想的重要特征，又是道教内炼学

英文摘要 Taoist Training of Inner Energy of Life and Chinese Instrumental Music Culture are two different fields within Chinese traditional culture. The former belongs to religious studies and the latter musical studies, but sharing the same supreme purpose to pursue the ultimate Tao as the 'Harmony of Human and Nature', these two appear to be apt to merge and coagulate. The 'Harmony of Human and Nature', as a liaison linking the Taoist Philosophy, the Taoist Aestheticism and the Taoist Training of Inner Energy of Life to the Chinese Instrumental Music Culture, is the media of the intervening of the two sides and it functions as the starting point and conclusive final of this thesis. Thus, the introduction and following seven chapters will analyze that the 'Unity of Human and Nature' is the ultimate philosophical conclusion, the supreme context and super ideal of both the theoretical system and the practice of the Taoist Training of Inner Energy of Life and the Chinese Instrumental Music Culture.Introduction: The connotation and denotation of the 'Taoist Training of inner Energy of Life' and the 'Chinese Instrumental Music Culture' are defined first and the specifically refrained radiant scope of these two terms in this thesis is given. Then the effort goes to the analysis on the outside trend and inside motivation that lead Chinese instrumental music culture return to the native traditional culture. Thus the theme of this thesis is proposed: the Taoist culture is the root to where the Chinese instrumental music culture can return. In addition, this part briefly introduced the research method and initiatives adopted into this study.Chapter One: Tranquility: Transcendence is the permanent theme religions and arts, and to tranquil one's heart is the first step to put transcendence into practice. From tranquil heart to tranquil tone and to tranquil life, all shows that the theory and practice of tranquility in Chinese instrumental music culture is greatly influenced by the Taoist tranquility theory and practice.Chapter Tw Purification of Ch'I: The Taoism founded by Lao-tse and Zhuang-tse is the affirmation of the Ch'i monism in ancient Chinese philosophy. The Taoist belief in purifying Ch'i directly influences the formation of'spirit-resonance ' theory controlling the atheist level in Chinese ancient arts. From the Taoist theory that human being should train both the physical and the spiritual energy, the Chinese instrumental music culture also take the form of a bilateral performance emphasizing both the physical and the spiritual atheism and practice. And the musical Ch'i Tao-'Spirit, Ch'i and Energy' thus becomes the only way to realize the excellence both physically and spiritually.Chapter Three: Reverse: The Taoist inner reverse training refers to the reversed training consisting of 'physique-spirit-Ch'i-energy-tranquility-Tao' to make the human spirit and energy back to Tao. This has generated the hypothesis of this paper, i.e., the proposition of the reverse consciousness in Chinese instrumental music culture. To specify, systemize, define and theorize this proposition will help the practice of the reverse consciousness in Chinese instrumental music culture, so as to explore a performance that differs from that of the Western instrumental music culture and that is characterized by Chinese instrumental music culture.Chapter Four: Harmony: Influenced by Taoist theory of harmony, the Chinese instrumental music culture reflects kinds of practice of harmony. Theoretically, fromChronicles of Ly-shi to "Sheng Wu Ai Le"-"Xi Shan Qin Kuang", there is atheoretical theme of harmony in Chinese instrumental music culture. In practice, harmony in smooth note, harmony between sections and harmony of the whole system reflect the harmony theory of Taoism, especially the harmony of the whole system being correspondent to Diagram of the Supreme Ultimate is the best illustration of this Taoist influence.Chapter Five: Softness: To attach importance to Softness is one of the main features of the ideas of Lao-tse and one main principle of both