庄子“心斋”“坐忘”的艺术精神对筝乐的启示  

The Enlightenment of Zhuangzi's Artistic Spirit about "Purifying the Heart" and "Sitting Oblivion" on the Music of Guzheng

作　　者：黄若然[1] 

机构地区：[1]安徽师范大学文学院,安徽芜湖241003

出　　处：《西安石油大学学报（社会科学版）》2015年第2期89-94,共6页Journal of Xi’an Shiyou University:Social Science Edition

摘　　要：作为庄子思想的基本范畴,"心斋"和"坐忘"虽不是专门性的艺术理论,却包含着独特的艺术精神,如"虚静"、"非感官"、"超功利"、"物我同一"等。这些艺术精神不仅常出现在各类艺术中,还作为表现内容和表达方式体现于中国古筝的音乐作品中。除了作为艺术构思的灵感,它们更和音乐理论相结合,要求审美主体超越个人的感知并且用心灵去体察和想像,达到"天人合一"的审美境界,这些都对中国筝乐的创作、演奏和欣赏等方面起到了一系列的指导作用。As the basic category of Zhuangzi＇s thoughts, ＂ Purifying the heart＂ and ＂ Sitting oblivion＂ are not specific artistic theories,but contain some unique artistic spirits like ＂ unreal quietness＂, ＂ non-sensory＂, ＂ non-utility＂ and ＂ identity of object and self＂. These artistic spirits not only appear in all kinds of art,but also are embodied in China guzheng music works as the performance content and expression form. As the inspiration of artistic conception,these artistic spirits also combine with music theory,and require aesthetic subjects to exceed personal perception and use hearts and soul to observe and imagine,and thus to achieve the aesthetic realm of ＂ harmony between man and nature＂. All these play the guiding parts in the creation,playing and enjoyment of China guzheng.

关 键 词：庄子 心斋 坐忘 古筝 

分 类 号：J601[艺术—音乐]