【作者】 李慧；

【导师】 付林鹏；

【作者基本信息】 华中师范大学 ， 中国古代文学， 2022， 硕士

【摘要】 汉晋时期是古琴由“器”入“道”的时期,琴人开始自觉地归纳琴乐内部的规律,系统性的琴学理论开始出现,并形成了一系列琴论文献。这一时期的琴论体现了古琴艺术的原始样貌。随着古琴的文人化,古琴艺术的文学性逐渐增强。本文以文学的视角去看待古琴艺术,在整理与分析琴论文献的基础上,以汉晋时期的琴乐审美趣味、琴乐功能、琴乐认知为切入角度,重点探讨由两汉至魏晋的琴乐转变过程,以期对汉晋琴论进行全面分析。论文分为以下四个部分:第一章是对汉晋琴论文献的整理与分析。两汉时期的琴论文献主要分为琴书和琴文两大类,琴文中又以汉赋中的琴赋为讨论重点;魏晋时期的琴论文献,根据文体可分为琴赋、琴赞、琴诗以及其他涉琴文本四类。在分别对每一部琴论文献的进行整理与分析后,最终得出汉晋时期的琴论文献具有系统性与零散性兼有的特点。第二章探讨汉晋琴乐审美趣味的转向。两汉时期以雅为正的审美趣味,是在“琴为乐统”的基础上形成的,并在文士与雅琴的互动中丰富了具体内涵,最终形成了“中和”的琴乐追求。到了魏晋时期,“自然”成为了主流的审美趣味,由此形成的琴乐实践也具有尚“清”的特点。由汉入晋过程中的从“雅正”到“自然”琴乐审美转型,主要体现在琴乐审美载体由“君子”到“至人”的转变,以及二者融通后琴的阶级转换。第三章分析汉晋琴乐功能的变化。通过展现汉晋文人琴乐生活的变化和琴艺传授方式,可以得出两汉与魏晋各自的琴乐功能侧重。两汉的琴乐功能侧重于“禁”,包括“自禁”与“禁人”,并在这种观念下形成了“操”与“畅”两种不同的曲式;魏晋的琴乐功能侧重于“趣”,具体表现在琴的娱乐功能与养心养身的功能,在对“琴趣”的不断追求中形成了无弦琴趣。第四章关注汉晋琴乐审美与功能的调适。从“琴德最优”这一命题出发,对汉晋琴论的理论内涵转变进行分析。汉晋琴乐的审美与功能的转变过程中,“琴德”的观念是贯穿始终的。两汉与魏晋都强调“琴德”,但二者有一定的区别:两汉时期强调君子之德与圣人之德,魏晋时期则强调琴之至德。这一部分具体论述“琴德”产生原因、演变、具体内涵,并由“琴德”上升至“琴道”,对“琴道”进行更深层次的探讨,并且厘清从“琴德”到“琴道”的发展路径。更多还原

【Abstract】 The Han-Jin Dynasties were the period when the guqin changed from the "musical instrument " to the "music theory ".The players began to consciously sum up the internal laws of the music.At the same time,the systematic theory of Qin began to appear,and a series of qin theories were formed.The Qin theory in this period reflects the original appearance of guqin art.With the literatiization of Guqin,the literary character of Guqin is gradually strengthened.In this paper,the guqin art is viewed from the perspective of literature.On the basis of sorting out and analyzing the literature on guqin,the author takes the aesthetic taste,function and cognition of guqin in the Han-Jin dynasties as the cut-in point,this paper focuses on the transformation of from the Han dynasty to the Wei and Jin dynasties,with a view to making a comprehensive analysis of the theory of Guqin music in the Han-Jin dynasties.The thesis is divided into the following four parts:The first chapter is the collation and analysis of the Han-Jin Guqin literature.In the Han dynasty,the literature on Guqin is mainly divided into two categories:theory and literature,and the focus of the discussion is the Qin Fu in Han Fu.There are four kinds of Qin-related literature in the Wei and Jin dynasties:Qin Fu,Qin Zan,Qin poems and other Qin-related texts.After sorting out and analyzing each qin theory literature separately,it is finally concluded that the qin theory literature of the Han-Jin dynasties has the characteristics of both systematic and scattered.The second chapter discusses the aesthetic taste of Qin music in the Han and Jin dynasties.In the Han dynasties,the aesthetic taste that took elegance as righteousness,It was obtained on the basis of "Qin as music system",and enriched the concrete connotation in the interaction between literati and Qin,and finally formed the pursuit of"neutralization" of Qin music.To the Wei and Jin dynasties,"Nature" has become the mainstream of the aesthetic interest,resulting in the practice of Qin also has the "Qing"characteristics.The aesthetic transformation of qin music from "elegant" to "natural" in the process of transitioning from Han to Jin is mainly reflected in the transformation of the aesthetic carrier of qin music from "gentleman" to "extreme man",and the class change of qin after the two are integrated.The third chapter analyzes the changes of the functions of Qin music in the Han and Jin dynasties.The function of Qin in the Han Dynasty focused on "forbidden",including"self-forbidden" and "forbidden others",and under this concept,two different musical styles of "Cao" and "Chang" were formed;he function of Qin music in the Wei and Jin dynasties lay emphasis on "Fun",which is embodied in the function of entertaining and nourishing the mind and body.In the continuous pursuit has formed a non-string fun.The fourth chapter pays attention to the adjustment of the aesthetics and function of Qin music in Han-Jin Dynasties.Starting from the proposition of "Qin de optimality",this paper analyzes the theoretical connotation transformation of Qin theory in the Han-Jin dynasties.In the process of aesthetic and functional transformation of Qin in the Han-Jin dynasties,the concept of "Qin de" runs through all the time.Both the Han dynasty and the Wei and Jin dynasties emphasized "Qin de",but the specific connotation was quite different.This part discusses the cause,evolution and specific connotation of"Qin de",which rises from "Qin de" to "Qin dao",and makes a deeper discussion on"Qin dao",and clarify the development path from "Qin de" to "Qin Dao".更多还原