摘要
晚明思想家、文学家李贽在其著作《焚书·琴赋》中提出了"琴者心也"的观点,这一命题对晚明及其后的琴乐发展产生了深远影响。许多学者认为这是对儒家礼乐思想的反叛。然而,深层挖掘"琴者心也"之"心"的思想内涵并梳理历代琴论,可以发现,李贽此说并非空谷之音。"琴者心也"是顺着主流琴乐思想之外的注重古琴自身艺术特性的琴乐思想发展而来的,这种思想并非离经叛道,而是一种对僵化的琴论的内在批判,以引导琴论健康发展。
Li Zhi is a thinker and writer in late Ming Dynasty. His music thoughts ＂the Qin music repre- sents heart＂, which is put forward in his book Fenshu ~ Qinfu, has a far-reaching influence on later genera- tion music development. Many scholars believe that this is the rebellion against Confucian rites and music thoughts. However, digging deeper into the real meaning of the ＂heart＂ and combing the music theories in different generations, it can be found that Li Zhi＇s idea is not ＂the voice of the valley＂. The theory of ＂the Qin music represents heart＂ pays more attention to the artistic characteristics of Qixian Qin （a traditional musical instrument in China）, which is not eccentric but critical to rigid musical theories in its essence, and is helpful to the healthy development of the theory of Qixian Qin.
出处
《安徽广播电视大学学报》
2015年第2期98-103,共6页
Journal of Anhui Radio & TV University
关键词
李贽
琴乐思想
“琴者心也”
“琴者禁也”
儒家礼乐思想
Li Zhi
musical thoughts
＂the Qin music represents heart＂
＂the Qin music can be misleading＂
Confucian rites and music thoughts
