饶宗颐先生的琴学研究与“乐教”论

发布时间：2018-05-07 06:31

本文选题：饶宗颐 + 古琴　；参考：《中山大学学报(社会科学版)》2011年06期

【摘要】：探讨古琴与中国传统历史文化的种种联系,在礼乐文明的语境下,对古琴的记载与阐释广泛见于各类儒家经典以及典章制度,它在人们的日常生活和社会政治层面均扮演重要角色。先秦时期,作为祭祀活动使用的乐器,琴、瑟屡见于古代礼书。至汉代,琴所具有的宗庙礼乐身份开始出现变化,逐渐进入古代士人的日常生活。饶宗颐先生将琴学与中国哲学,儒、释、道三教,乃至其所涵括的整个中国文化传统相联系,提出"琴道"这一理念。又结合琴史,在形而上的高度理解古人赋予琴曲的哲学内涵。以古史、古学论琴曲,广及三教,对琴道进行了别开生面的探讨,使我们从琴学研究角度,对先生在中国古典文明研究领域的视野与方法有了更进一步的认识。
[Abstract]:This paper probes into the various relations between Guqin and Chinese traditional history and culture. In the context of etiquette and music civilization, the recording and interpretation of Guqin are widely seen in all kinds of Confucian classics and regulations. It plays an important role in people's daily life and social politics. In the pre-Qin period, as an instrument used for sacrificial activities, harps and harps were frequently seen in ancient ritual books. By the Han Dynasty, the musical identity of the piano began to change and gradually entered the daily life of the ancient scholars. Rao Zongyi linked piano to Chinese philosophy, Confucianism, Buddhism, Taoism, and even the whole Chinese cultural tradition, and put forward the concept of "Qin Tao". In combination with the history of the piano, we understand the philosophical connotation of the piano music given by the ancients in a metaphysical way. Based on the ancient history, ancient studies on piano music, and the three religions, this paper discusses the Qin Tao in a different way, which makes us have a better understanding of Mr. Chen's vision and methods in the field of Chinese classical civilization from the perspective of piano studies.
【作者单位】：中山大学历史系;
【分类号】：J632.31

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