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The Development Process and Contemporary Value Research of Huxiang Qinxue Thought
Written by Zhang Di
Xuelin Press
In November 2003, guqin art was selected as the second batch of "Masterpieces of the Oral and Intangible Heritage of Humanity" determined by UNESCO, which means that guqin art has been highly valued by the world as an outstanding representative of traditional Chinese culture. Today, guqin art has become one of the most important topics in the field of traditional Chinese music research, and the research on the music aesthetics, development of rhythm, notation, and performance methods of guqin art has a certain foundation, forming a systematic idea of "qin science".
Huxiang culture has a long history and a long history, adding a colorful, dignified and profound chapter to the historical scroll of Chinese civilization, and the same is true in the culture of piano learning. As the old saying goes, "Chu Qin, Zhao Se, Qi Zhu, Qin Zheng", and the word "Chu Qin" point out that Hubei (Jing Chu) and Hunan (Xiang Chu) are the hometowns of the guqin; there are countless Chu qin artists in the pre-Qin period; the tombs of the Warring States and the Han Dynasty in Hunan have unearthed the guqin objects more than 2200-2400 years ago. These all eloquently prove the heavy cultural connotation of the word "Chuqin".
Recently, Xuelin Publishing House launched the "Research on the Development Process and Contemporary Value of Huxiang Qin Theory", that is, along the longitudinal clues of the pre-Qin, Han Dynasty, Wei and Jin, Sui and Tang dynasties, Song and Yuan, Ming and Qing dynasties, based on traditional Chinese philosophy and guqin music aesthetics, the qin works and related literature of Laozi, Qu Yuan, Cai Yong, Zhu Xi and Yang Zongji and other representative Huxiang qin people were sorted out and studied, and their qin ideas were analyzed and discussed, and a logical system for the development of Huxiang qin music aesthetic concepts was constructed. In the view of the author Zhang Di, the piano ideas of all qin people have finally moved towards the aesthetic paradigm of "entering the Tao from technique" in traditional Chinese culture. Therefore, it is the practical significance of the study of Huxiang qin to explore the aesthetic characteristics of guqin art from the three levels of qin sound, qin image and qin meaning, and to explore its contemporary value.
About the Author
Di Zhang, Ph.D. from Wuhan University, is currently a lecturer at the School of Music and Dance of Changsha Normal University. In the past 10 years, he has mainly taught music theory courses such as "Chinese and Foreign Music History and Appreciation of Works", "Music Aesthetics" and "Introduction to Art". He has published more than 10 papers in professional core journals such as Journal of Capital Normal University, Chuanshan Journal and Social Science Forum, presided over and participated in nearly 10 national, provincial and departmental projects, and authored "Research on Ancient Chinese Qindao Thought".
内文赏析
From the beginning of its production to the Ming and Qing dynasties, the guqin has undergone a transformation process from a ritual instrument to a musical instrument, from a tool of communication with God to a close friend who intersects with the inner self, and its social role has continued to penetrate into all levels of society, and has gradually become a symbol of the spirit of Chinese aesthetic culture. Because of this, the study of the qin is different from the simple examination and analysis of other instruments and compositions, and the qin people are also different from ordinary musicians, who are either officials with the ideal of governing the world or literati with lofty aspirations. Their high cultural accomplishment makes them different from professional craftsmen, who generally start from their own social and cultural background, base their practice and research on the basis of certain philosophical theories, and construct and form a distinctive aesthetic system of qin music.
For example, Lao Tzu started from the pursuit of "Tao", required to look at "Tao" in an aesthetic way, and looked at the problem of beauty with the regularity of "Tao", and the process of cultivating "Tao" was also consistent with the aesthetic state, so Lao Tzu's ideological system contains rich aesthetic significance.
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As a prominent representative of Chu culture, Qu Yuan's poems in "Chu Ci" originally belonged to the song art of music, showing three levels of aesthetic concepts of "harmony" in musical structure, romance in musical language and magnificent beauty in musical imagery. The qin song "Lisao", adapted from Qu Yuan's poems, also shows the "tragic" aesthetics of Chu culture, which is an important feature of Huxiang qin science.
Cai Yong and Qu Yuan of the Eastern Han Dynasty had a similar tragic fate, but under the influence of social turmoil and cultural diversity in the Eastern Han Dynasty, his qin aesthetics showed the characteristics of respecting Confucianism, supplemented by Taoism, and taking sorrow as beauty, showing the aesthetic tendency of Huxiang qin music from the late Han Dynasty to the Wei and Jin dynasties.
Zhu Xi of the Southern Song Dynasty, as a master of science, was based on the traditional Confucian music education, emphasizing the educational role of qin music. However, due to the social, political, cultural and personal reasons, Zhu Xi's qin science thought starts from the "object", conducts in-depth research on the qin rhythm, and then proposes and discusses the aesthetic ideal of "light harmony" of qin music, and finally hopes to achieve "knowledge" through qin music, a kind of sage realm based on the theory of mind. It can be seen that Zhu Xi took science as the foundation and formed a set of aesthetic and educational systems of qin science, which was basically influenced by the research of all other qin artists in Huxiang and even in Huxiang since then.
Yang Zongji is one of the most prominent people in the study of modern Huxiang qin, and he spent 21 years compiling the book "Qin Science Series", which constructed an aesthetic ideological system of qin science with the beauty of "qin things", the beauty of "qin art", the beauty of "qin sound" and the beauty of "qin dao" as the internal logical order. In order to save the guqin art that was declining in modern times, Yang Zongji asked to move people with pleasant qin music, build a free ideal personality through Xi qin music, and finally achieve the goal of pleasant cultivation. His thoughts on qin music are a summary and reflection on the aesthetics of qin music over the past few thousand years, and a concentrated reflection of the aesthetic wisdom of traditional Chinese art.
In the history of music, there are far more than Lao Tzu, Qu Yuan, Cai Yong, Zhu Xi and Yang Zongji, and in the history of ancient Chinese music, there are Jia Yi, Liu Zongyuan, Zhou Dunyi, Hu Anguo, Hu Hong, Xin Qiji, Zhang Wei, Zhen Dexiu, Wang Chuanshan and other sages and pianists, and there are hundreds of qin people and pianists recorded in modern times. However, due to the fact that there are not many relevant works on qin science by these qin artists, or because there is no systematic research on qin science, this book does not discuss them in detail.
From the perspective of many piano studies, it is basically from the study of external forms to the pursuit of spiritual connotation, that is, the traditional thinking mode of entering the Tao from technique and getting carried away. Therefore, with regard to the contemporary value of qin thought, it is necessary to construct a model based on the distinction between words and images in the history of Chinese aesthetics: "Yan" refers to a nameable language, which in the aesthetics of guqin music refers to the audible musical sound transmitted by guqin performance; "Xiang" includes imaginary objects and invisible mental images that appeal to imagination, in guqin art, this object refers to the design of the instrument and the symbolic gestures when playing the guqin, and the mental image is the imagination in the hearts of people stimulated by guqin music, and "meaning" mainly refers to the "image" The personality ideal and spiritual realm symbolized by guqin music are a certain personality ideal and spiritual realm that guqin music wants to bring to the appreciators, and this is where the ultimate meaning of guqin art lies.
The beauty of the sound of the guqin is mainly reflected in the three aspects of the guqin: timbre, rhyme and rhythm. The analysis of the beauty of the qin sound can provide reference and ideas for the innovation of contemporary traditional music, especially the creation and development of the most popular new folk music.
The beauty of the piano elephant is mainly reflected in the two aspects of the object image of the qin and the heart image of the qin, the object image refers to the design and development of the instrument and the fingering of the qin, and the mental image refers to the aesthetics of the image of the qin. They have certain modern value in three aspects: retaining the foundation of cultural consciousness, giving inspiration to the beauty of imagery, and providing modern design innovation ideas that retain the core of traditional spirit.
The beauty of the qin refers to the artistic conception expressed by the sound of the qin, and the meaning of the qin contained in the thought of qin science basically comes from the three schools of Confucianism, Taoism and Buddhism. Although the beauty of the guqin is a difficult problem affecting the contemporary spread and development of guqin art, the spirit of aesthetic education embodied in it, that is, through the cultivation of life and the cultivation of the mind, embodies the realm of harmony and sympathy between nature and man, and the ideal way of life following nature, which has profound reference significance for the spiritual crisis of today's society.
In general, Huxiang qin science has a long history, since ancient times, there are many talents, set the commonality and individuality of qin research, it inherits the spiritual core of Chu culture, combined with the philosophical concepts of various periods, and constructs its own aesthetic system of qin music, which is an important part of Huxiang culture.
Source: Xuelin Press
Editor: Qiu Sichang