| 古琴审美活动中的“材美”观念 |
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| 引用本文： | 江渝.古琴审美活动中的“材美”观念[J].衡水学院学报,2011,13(5):63-65. |
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| 作者姓名： | 江渝 |
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| 作者单位： | 南开大学哲学院,天津,300071 |
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| 摘 要： | 古琴艺术十分重视取音、指法,它们在古琴琴论(如《溪山琴况》)中并非是单纯的技巧论,而是具有审美本体论地位。对琴"音"本身的珍视是与古琴(乃至其他中国艺术)高度重视琴材本身审美价值特性的观念密切联系,这种观念在《考工记》中被称作"材美",它深刻地贯注在古琴审美活动始终。
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| 关 键 词： | 古琴 音 材美 《溪山琴况》 |
On Material Beauty in the Aesthetic Activity of Guqin |
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| JIANG Yu.On Material Beauty in the Aesthetic Activity of Guqin[J].Journal of Hengshui University,2011,13(5):63-65. |
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| Authors: | JIANG Yu |
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| Institution: | JIANG Yu(Institute of Philosophy,Nankai University,Tianjin 300071,China) |
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| Abstract: | The art of Guqin attaches great importance to toning and fingering.In the theory of Guqin,for example,Xi Shan Qin Kuang（the most important book on Chinese Guqin aesthetic history）,they not only mean the simple theory of skill,but also have the status of aesthetic ontology.Thus,placing high value on the tone attaches closely to the concept of the specialty of paying great attention to the material of Guqin or even other Chinese arts.This concept is called material beauty in Kao Gong Ji（the earliest book about skills of handicraft industry in ancient China） and it runs through the whole aesthetic activity of Guqin. |
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| Keywords: | Guqin tone material beauty Xi Shan Qin Kuang |
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