고대사회 우리 한민족은 중국과 문화를 공유했다고 해도 과언이 아니다. 전세기 90년 대이래, 한국의 유관 학자들은 중국 고대 학론에 대한 연구활동을 활발하게 진행하여 적지 않은 학술저작과 논문이 발표하였다. 이같은 우리 한국전통 음악이화사상과 관련되는 연구사업은 우리 국악의 정체성을 추구하고 규명하는데 매우 중요하다. 필자는 한국 음악학자들의 연구과정에서 오랜 세월동안 문화를 공유해 왔던 인근 나라, 중국 당대 음악학계에서 진행되고 있는 중국 전통(고대)음악이화사상에 관한 연구생활을 요해하는 것은 중요한 현실적 참고가치가 있으리라 믿어 본문을 집필하였다.

There is no doubt that the Han in ancient society shared Chinese culture with other neighbouring people. In this Chinese influence on Korean culture, it would certainly be valuable for Korean scholars to understand the current research situation on aesthetic ideas on Chinese traditional ancient music engaged in native Chinese scholars. This paper aims to address its ongoing research trends in China, thus helping Korean counterparts, who are involved in this field, enable to apply its actual situation to their studies. This paper intends largely to introduce the current methods of the studies on aesthetic ideas on music in Chinese ancient time which is particularly referred to the book A History of Aesthetics on Chinese Music(中國音樂美學史) written by Che Juin Du (蔡仲德), who is a professor at Jung`ang Conservatory/Academy of Music in Beijing. The content is as follows: 1. It deals with a chronical division and research object of the history of aesthetics on music practised in Chinese ancient time; 2. It includes aesthetic ideas on music emerged from Chinese traditional Buddhism and Taoism; 3. It deals also with main thesis arrived from aesthetic ideas on music in Chinese ancient time, and this section can be subdivided into six ideas: (i) relationship between feeling (情) and virtue (德 or 禮); (ii) relationship between voice (聲) and the "way" (導); (iii) relationship between greed (慾) and the "way"; (iv) relationship between sorrow (悲) and beauty (美); (v) relationship between music (樂) and politics (政); (vi) relationship between the past (古) and the present (今), that is, refinement (雅) and politeness (鄭). 4. It is to reveal some characteristic features of aesthetic ideas on music practised in Chinese ancient time, for instance, (i) idea of "Yeak" (예악禮樂, lit. means etiquette and music) ; (ii) criteria of aestheticism of "Jungwha" 중화中和 (lit. means counteraction), "Damwha" 담화淡和(lit. means clearness) and "Pyeongwhayeomdam" 평화념담平和恬淡 (lit. means harmony and unselfness); (iii) Cheon-In-Hap-ll (천인합일天人合一, lit. means "heaven and human being become oneness") and the theory of "Um-Yang-O-Haeng" (음양오행陰陽五行, lit. means the dual principle of the negative (or female) and positive (male)) and The Five Elements which constitute metal, wood, water, ire and earth); (iv) There are many statements about philosophical, ethical and political relationship between sound (음音) and music theory (악樂) appeared in among the Chinese antiquity or old literature, but there is lack of the statement about regulations, peculiarity, pleasure within music itself; (v) Its thought attained a full-fledged stage in very earlier time, but its developments became inactive in later time. 5. Lastly this paper is also concerned with some research trends on aesthetic thought on music paractised in Chinese ancient time.