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中国古代乐器的装饰艺术,大都凭借彩绘、雕刻、镶嵌等工艺美术语言,构成民族乐器和工艺美术之间的亲缘关系。然而中国古琴却是例外,它若断若续、温柔悦耳、飘逸秀丽的乐音,以及颇具书法魅力、诗词韵味的题名、铭文、大印等装饰艺术,在我国民族乐器大家庭中独树一帜,且保持数千年而不衰。对这一独特的古琴装饰手法,其产生的时代背景,蕴含的哲学思想,具有的审美效果等,至今未引起国内外学者的关注。在令人惋惜之余,笔者决定提出自己的一点浅见,供有关人士分析和指正,以起到抛砖引玉的作用。
The decorative arts of ancient Chinese musical instruments mostly rely on the arts and crafts such as painting, sculpture and inlaying to form the kinship between folk instruments and arts and crafts. However, the Chinese guqin is an exception. Its delicate and melodious, beautiful and elegant music, as well as the calligraphic charm, poetry and charm of the title, inscriptions, seals and other decorative arts, unique in our national musical instrument family, and maintain Thousands of years without failure. To this unique Guqin decoration technique, the background of the times, the philosophical thought contained in it, the aesthetic effect it has had so far have not attracted the attention of domestic and foreign scholars. In the regrettable, I decided to put forward a bit of my own humble opinion for the analysis and correction of relevant persons, in order to play the role of arousing people.