【作者】 叶静；

【导师】 何世剑；

【作者基本信息】 南昌大学 ， 音乐与舞蹈学， 2020， 硕士

【摘要】 “清”是中国古琴音乐美学思想中重要的范畴之一,本文以“清”为切入点,梳理“清”与古琴相结合的美学史发展脉络。古琴作为中国文人音乐中的重要乐器,其发展自始都与这些知识分子的命运联系在一起。魏晋南北朝时期,古琴得到了文人们的推崇,以琴作乐,是他们的生活方式。随着受到嵇康提出“越名教而任自然的”魏晋玄学思想的影响,“清”逐渐与古琴音乐结合在一起,形成了一种清和淡雅的美学特征。魏晋南北朝之后,“清”与古琴音乐一同发展,并在明朝由徐上瀛的《溪山琴况》总结了该思想。本文从中国古琴音乐美学思想“清”的历史流变、思想内涵、审美特征、社会价值与功能方面分别展开论述,试图勾勒出“清”的清晰轮廓。本论文共分为六章,第一章绪论,第六章结论与展望,其余四章内容分别从历史流变、思想内涵、审美特征、价值与功能这四个方面来论述。从历史流变来说,“清”的美学思想从古琴的艺术创作和艺术表现方面发端于魏晋南北朝时期,唐宋时期融合多种哲学思想得到进一步阐述,明清时期随着古琴流派的逐渐增加,“清”既是各流派之间的特征,又是欣赏古琴的本质。古琴“清”的思想内涵以比较研究法入手,与西方美学思想、中国儒家美学思想,以及“清”的主要著作《溪山琴况》、《琴声十六法》比较,还有与魏晋时期嵇康的《声无哀乐论》来比较,以达到分析“清”美学内涵的目的。由于“清”发端于魏晋南北朝时期,其美学特征受到魏晋时期儒家与道家思想的影响。同时,魏晋又作为中国较为重视个体的自觉的时代,“清”必然受到了两种思想的影响。“清”的审美与社会价值与功能体现在,关照了个体的发展,同时对个人的品质提出了要求。故而,“清”是一个集合了艺术创作与艺术欣赏双重功能的审美范畴。更多还原

【Abstract】 "Qing" is one of the important categories in the aesthetic thought of Chinese Guqin music.This paper takes "Qing" as the starting point to sort out the development of the aesthetic history of the combination of "Qing" and Guqin.As an important musical instrument in Chinese literati music,the development of Guqin has always been linked with the fate of these intellectuals.In the period of Wei,Jin,southern and Northern Dynasties,guqin was highly praised by the literati.It was their way of life to play with it.With the influence of Jikang’s thought of metaphysics in Wei and Jin dynasties that "the more famous the teacher is,the more natural he is," Qing "gradually combined with guqin music,forming a kind of aesthetic characteristics of Qing and elegant.After the Wei,Jin,southern and Northern Dynasties,"Qing" and guqin music developed together,and in the Ming Dynasty,Xu Shangying’s "state of Xishan Qin" summed up the thought.This paper discusses the historical change,ideological connotation,aesthetic characteristics,social value and function of the aesthetic thought of "Qing" of Chinese Guqin music,trying to outline the clear outline of "Qing".This paper is divided into six chapters,the first chapter is the introduction,the sixth chapter is the conclusion and prospect,the other four chapters are discussed from four aspects:historical change,ideological connotation,aesthetic characteristics,value and function.From the perspective of historical changes,the aesthetic thought of "Qing" originated from the artistic creation and performance of Guqin in the Wei,Jin,southern and Northern Dynasties.The integration of various philosophical ideas in the Tang and Song Dynasties was further elaborated.With the gradual increase of Guqin schools in the Ming and Qing Dynasties,"Qing" is not only the characteristics of various schools,but also the essence of appreciating Guqin.The ideological connotation of "Qing" of Guqin is based on comparative study,compared with western aesthetic thoughts,Chinese Confucian Aesthetic Thoughts,main works of "Qing" such as "state of Qin in Xishan","Sixteen methods of Qin sound",and also compared with Jikang’s "theory of sound without sorrow and music" in Wei Jin period,so as to achieve the purpose of analyzing the aesthetic connotation of "Qing".Because "Qing" originated in the Wei,Jin and southern and Northern Dynasties,its aesthetic characteristics were influenced by Confucianism and Taoism in the Wei and Jin Dynasties.At the same time,Wei and Jin Dynasties,as an era in which China pays more attention to individual consciousness,"Qing"must be influenced by two kinds of thoughts.The aesthetic and social value and function of "Qing" are embodied in that it pays attention to the development of the individual and requires the quality of the individual.Therefore,"Qing" is an aesthetic category that combines the double functions of art creation and art appreciation.更多还原