| 篇名 |
琴論中「韻」的文獻解讀與美學意涵研究—以宋元明清時期為主
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| 並列篇名 | Guqin Theory—Focusing on the Song, Yuan, Ming and Qing Dynasties |
| 作者 | 李美燕 |
| 中文摘要 | 本文旨在透過琴論中「韻」的文獻解讀,以考察與研究其意涵的發展與流變──以宋元明清時期為主。「韻」代表中國文藝美學的風格與意境的最高成就,舉凡詩論的「神韻」、書畫論的「氣韻」都有特定的意義。然而,樂論中的「韻」卻散見於不同的古籍文獻中,缺少給予一個形成、發展與流變的說明。事實上,審諸歷代樂論來看,「韻」字幾乎都集中在「琴論」中,故本文擬針對這個課題加以研究,除了前言與結論外,內容主要在探討琴論中的「韻」在琴論中產生與流變的歷程為何。透過本文之研究,一方面讓琴論中「韻」的觀念能獲得釐清與建構;另一方面本文將指出在唐朝之前,琴論中論及「韻」者僅零星可見,直到宋代才出現「聲韻」與「氣韻」二者作為琴論中「韻」的美學要旨,前者是古琴音律與美學上的基本要求,乃是清代以前的琴論中論「韻」的重點,乃在以聲韻清雅為美;後者則在清代以後才成為古琴音樂美學的審美觀,所謂的「氣韻」強調彈琴與人之身體呼吸相契合,且又結合人之修養工夫的實踐,落實於吟猱綽注之指法運用,以成就琴韻之美的最高境界。
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| 英文摘要 | This research investigates the aesthetic significance of “yun” in ancient guqin theory. The “yun” represents the highest achievement of the style and artistic conception of Chinese literary and artistic aesthetics. Moreover, “yun” has well-defined meanings in many aspects of Chinese cultures, such as poetic theory, painting theories, and calligraphy. However, “yun” lacks a clear definition in guqin music theory. Historical records of “yun” in guqin music theory scatter over different ancient book collections. Therefore, the author intends to investigate further “yun” in guqin music theory and research how the process of generation and implementation of it. Through the above research, the concept of “yun” in ancient guqin theories can be clarified and constructed; on the other hand, the author points out that the idea of “clear yun” (清韻)and “elegant guqin” (雅琴)was only sporadically visible in the guqin theory before the Tang Dynasty. It was not until the Song Dynasty that “sound-yun” ( 聲韻) and “qi-yun” ( 氣韻)appeared as the aesthetic essence of “yun” in guqin music theory. The former is the essential requirement of guqin rhythm and aesthetics; the focus of yun in the guqin theory before the Qing Dynasty, that is, the beauty of “sound-yun” is clarity and elegance. Rhythmic vitality became the brilliant aspect of guqin music aesthetics onlyafter the Qing Dynasty. Whether from fingering, composition, etc., presenting the beauty of the yun of guqin music emphasizes the harmony with the guqin player’s body breathing. It combines the practice of human cultivation. Once the spiritual realm of the guqin player is continuously improved, he/she will achieve the highest state of the beauty of the guqin yun.
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| 起訖頁 | 001-042 |
| 關鍵詞 | 韻、樂論、琴論、音樂美學、古琴、Yun、Theory of Music、Theory of Guqin、Music Aesthetics、Guqin |
| 刊名 | 藝術評論 |
| 期數 | 202407 (47期) |
| 出版單位 | 國立臺北藝術大學 |
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