司空图《二十四诗品》中的道家音乐美学意境与思想传播  

The Taoist Musical Aesthetic Conception and the Thought Dissemination of Si Kongtu's "Twenty-Four Styles of Poetry"

作　　者：张诗扬[1,2] 

机构地区：[1]浙江大学 [2]沈阳音乐学院

出　　处：《乐府新声（沈阳音乐学院学报）》2013年第2期78-83,共6页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

摘　　要：司空图《二十四诗品》以道家哲学为主要思想,以自然淡远为审美基础,囊括了诸多诗歌艺术风格和美学意境。唐代诗歌、音乐和哲学思想均达到前所未有的高度,《诗品》创作于唐代晚期,是中国古代诗论著作中的名篇。由"以乐从诗"到"以诗入乐",再至"倚声填词",我国古代诗歌与音乐之间有着紧密的联系。司空图的美学思想被后世广为传播继承,对诗学、艺术学和音乐美学产生深远的影响。在中国音乐美学研究中,极少有学者提及司空图及其《二十四诗品》中的音乐美学意境,本论文尝试运用平行比较法将《二十四诗品》中的"诗论"转移至音乐中,将诗论中的道家哲学思想转移至中国古代音乐美学思想中。Based on Taoist philosophical thought and natural aesthetic standard, Si Kongtu＇s ＂ Twenty-Four Styles of Poetry＂ embraces lots of poetic art styles and aesthetic con- ceptions. Created in the late Tang Dynasty, in which poetry, music and philosoph- ical thought all arose to an unprecedented level, it is a masterpiece among many an- cient Chinese poetry works. In Chinese history, there was very close relationship between poetry and music. Si Kongtu＇s aesthetic thought was widely inherited and disseminated by later generations and had profound influence on poetry, art and mu- sical aesthetics. His name and his aesthetic conception, however, were rarely men- tioned by scholars in Chinese aesthetic research. By using the parallel comparison method, this paper transfers his ＂poetry theory＂ into music, and also transfers his Taoist philosophical thought into ancient Chinese music aesthetics.

关 键 词：司空图 (《二十四诗品》 美学 音乐 

分 类 号：J632.33[艺术—音乐]