唐代琴文化初探

发布时间：2018-05-12 03:44

本文选题：唐代 + 琴文化　；参考：《复旦大学》2010年硕士论文

【摘要】：本文将琴置于整个社会文化生活中,从琴器、琴乐、琴人几方面入手,通过对唐琴的形态及其象征意义的形成、琴的制作与斫琴家、琴艺的学习与传授及琴的使用等几个问题的讨论,分析唐代的琴文化。绪论章节厘清了本文的研究范围及研究对象,对琴学研究史进行了简要回顾。绪论的第三节“琴器起源考”中,将学界对琴起源的诸种论说归为三个节点。指出了琴史的书写方式有从重乐重史转为重人重器这一特点,这一变化的发生,与琴器的发展定型有着密不可分的互动关系,而唐代,正是发生这一转变的时期。第一章着重分析琴器,以全箱、有徽等现代古琴的基本要素发展完备为标准,将琴分为定制前期与定制后期,根据考古实物和文献资料,琴的定制在东汉晚期。从考古出土文物上对琴这一装饰主题的运用可以看出,自东汉晚期到唐代,世人对琴的看法发生了从文士用琴到用琴者乃文士的转变。第二章围绕制琴和斫琴家展开,指出了唐代斫琴家身份多样,出现了职业斫琴家和累世制琴的制琴家族。斫琴家之间的会相互学习工艺长处,提高斫琴技艺。职业斫琴家因逐利而将琴的制作程式化,也会为迎合市场而改变制琴工艺。第三章阐述了唐代琴家以游学求曲为修习琴艺的主要方式,学曲尚精不尚多。有的琴家在琴艺的授与不授之间有其标准,这是出于文人气节和对某种音乐理念的固守,吝惜琴艺而不授的琴家不多见。师门观念的淡薄和游学的修习方式使很多琴艺高超的琴人师出无门,因而出现了神仙授法的传说。第四章探讨了琴在唐代的使用,琴在宫廷中地位的提升和琴乐为统治者的接受程度是唐代统治者融入汉文化的重要表征。之于民间用琴,本文讨论了琴家的社会地位,并选取了弹琴僧人与弹琴妇人两个角度进行分析。指出了唐代琴文化在佛教盛行的唐代并未明显受到佛教文化的影响。
[Abstract]:In this paper, the Qin is placed in the whole social and cultural life, from the aspects of instrument, music and people, through the formation of the form and symbolic meaning of Tang Qin, the making and making of the Qin and the Chin players. The study and teaching of piano art and the use of piano were discussed, and the Qin culture in Tang Dynasty was analyzed. The introduction clarifies the scope and object of this study, and briefly reviews the history of piano studies. In the third section of the introduction, "the Origin of the instrument", the academic theories on the origin of the piano are classified into three nodes. This paper points out that the writing style of Qin history has the characteristic of changing from the heavy music history to the heavy person heavy device. This change has a close relationship with the development and stereotyping of the instrument, and the Tang Dynasty is the period of this change. The first chapter focuses on the analysis of the instrument, based on the complete development of the basic elements of the modern Guqin, such as the whole box and the emblem, and divides the organ into early customization and later customization. According to the archaeological objects and literature, the organ customization was made in the late Eastern Han Dynasty. From the use of the decorative theme of Qin on the archaeological excavations, it can be seen that from the late Eastern Han Dynasty to the Tang Dynasty, the world's view of the Qin has changed from the literati to the violinist. The second chapter focuses on the Qin making and the Cho Ching family, pointing out that the status of the Qin family in the Tang Dynasty was diverse, and there appeared the professional Ching players and the Qin making families who made the harp in the world. The players will learn from each other and improve their skills. Professional Choriners make the harp as a result of profit, and change the art of making it to meet the needs of the market. In the third chapter, the author expounds that the students of Tang Dynasty mainly studied the piano art by traveling music. Some pianists have their own standards between the teaching and non-teaching of piano art, which is due to literati integrity and adherence to a certain musical concept. The thinness of the concept of the master gate and the way of study made many piano masters with excellent piano skills have no way out, so there appeared the legend of the immortals teaching the Dharma. The fourth chapter discusses the use of the Qin in the Tang Dynasty. The promotion of the Qin in the court and the acceptance of the piano music as the ruler is an important symbol of the integration of the rulers of the Tang Dynasty into the Han culture. In this paper, the social status of the violinist is discussed, and the two angles of the monk and the woman are analyzed. It points out that the Qin culture in the Tang Dynasty was not obviously influenced by the Buddhist culture in the prevailing Buddhism.
【学位授予单位】：复旦大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J632.31

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