古琴在中国早期艺术中的定位和价值面向

发布时间：2018-03-06 13:03

本文选题：古琴　切入点：先秦两汉　出处：《人文杂志》2017年03期 　论文类型：期刊论文

【摘要】：在中国艺术史中,古琴因为与士人精神生活的关联,而成为备受推崇的艺术形式。但从中国历史看,这种关联并非来自士人的自觉选择,而是来自西周礼制的外在强制。春秋战国时期,传统礼制的崩解为古琴价值的凸显提供了契机;两汉时期,士人在国家政体中地位的稳固以及士人集团的形成,则直接导致了琴艺的繁荣。从现有文献看,汉代是中国古琴艺术价值体系的确立期和完备期,这一体系包括琴以合天、琴以修德、琴以宣悲、琴以挑欲、琴以娱情等五个方面。后世,中国古琴艺术的发展愈来愈情致化,但总体上并没有溢出汉代乐论为其奠定的框架。就此而言,现代古琴史家一般重魏晋以降而轻先秦两汉,现在是对这种状况做出改变的时候了。
[Abstract]:In the history of Chinese art, Guqin has become a highly respected art form because of its connection with the spiritual life of the scholars. But from the perspective of Chinese history, this connection does not come from the conscious choice of the scholars. During the Spring and Autumn period and the warring States period, the disintegration of the traditional ritual system provided an opportunity to highlight the value of the Guqin. During the Han Dynasty, the position of the scholars in the state system of government and the formation of the Scholars' clique were firmly established. From the existing literature, the Han Dynasty was the period of establishment and completion of the artistic value system of the ancient Chinese harp, which included the harmony of the piano with heaven, the repair of the piano with virtue, the promotion of sadness with the piano, and the desire of the piano to be singled out. The development of Chinese ancient piano art has become more and more sentimental, but on the whole it did not overflow the framework laid for it by Han music theory. In this regard, modern ancient Qin historians generally emphasize the Wei and Jin dynasties rather than the pre-Qin and Han dynasties. Now is the time to change that.
【作者单位】：北京师范大学哲学学院;
【分类号】：I01;;J601

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