本文以现代美学作为审视角度 ,梳理与研究了嵇康的音乐艺术思想。论文认为 ,嵇康的《声无哀乐论》集中地表现了魏晋时期音乐艺术美学思想 ,由传统儒家功利实用审美态度转向崇尚自然 ,注重个人内心情感体验 ,以及尊重音乐艺术自身特殊规律的审美倾向。本文共分四部分 ,即嵇康的艺术人生倾向 ;《声无哀乐论》与养生论 ;以“心”为乐之体 ,以“声”为乐之“用” ;“曲变虽众 ,亦大同于和 Taking modern aesthetics as a reviewing point, this paper combs and studies Ji Kang’s musical and artistic ideas. The dissertation holds that Ji Kang’s “no sound and sorrow” focuses on the aesthetics of music art in the Wei and Jin Dynasties, from the practical and aesthetic attitude of traditional Confucianism to the respect of nature, the personal inner emotional experience, and the respect of the aesthetic law of music art itself tendency. This article is divided into four parts, namely, Ji Kang’s artistic life tendencies; “no sound of sorrow and sorrow” and health theory; “heart” as the body of music, “sound” as the music of “use”; " Also Datong in harmony