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老子提出的“大音希声”作为音乐美学的重要命题,历来众多学者对其意义阐释不一。笔者从“大音希声”的历史性渊源入手,考察其历史发展脉络,从春秋时老子寓道的比喻到战国庄子的天乐、天籁观的填充,再到汉刘安《淮南子》结合儒家“无声之乐”的阐释;进而魏晋——隋唐时期文人的实践到宋元明清时期在琴乐审美的影响,及至当代众多学者的种种阐释。“大音希声”逐步发展、嬗变为中国传统美学的审美理想,成为一个美学范畴,并影响指导着中国重含蓄、崇淡和恬静、尚弦外之意艺术创作风格的形成。其实质是文化的交流融合,反映了社会的变迁发展、历史进程的推移经过。在不同历史背景下,每一次阐释无疑都是其意义的二度“远化”。
As an important proposition of music aesthetics proposed by Lao Tzu, there are many scholars interpreting its significance. The author starts with the historical origins of “Dagong Xisheng ” and examines the historical development of it. From the parable of Lao Tzu in the Spring and Autumn Period to the filling of Tianle ’ “The combination of Confucianism and” silent music “interpretation; and then Wei and Jin - Sui and Tang Dynasties literati practice to the Song and Yuan Dynasties Ming and Qing Dynasties in the aesthetic influence of piano music, and many contemporary scholars to interpret. The gradual development and evolution of the ”Big Tone Music“ into the aesthetic ideal of Chinese traditional aesthetics has become a category of aesthetics and influenced the formation of an artistic creation style that guided China with subtle, subtle and quiet meanings. Its essence is the exchange and integration of culture, which reflects the change and development of society and the passage of historical process. Under different historical backgrounds, every interpretation is undoubtedly the second degree of ”distantness" in its meaning.