论朴趾源《忘羊录》中的音乐美学思想  

The Music Aesthetics Thoughts in Piao Zhiyuan's Wangyanglu

作　　者：崔玉花[1] 罗旋[1] 

机构地区：[1]延边大学艺术学院,吉林延吉133002

出　　处：《延边大学学报（社会科学版）》2017年第1期97-102,共6页Journal of Yanbian University：Social Science Edition

摘　　要：一直以来,人们对朴趾源及其代表作《热河日记》的研究侧重于朴趾源的北学思想,《热河日记》中清朝的历史古迹、景观器物、多彩文化、繁荣经济、民俗风情、学术考证、朝章典制、奇闻趣事等领域,忽视了对《热河日记》中《忘羊录》这一专题性音乐方面的专门研究。因此,应通过对《热河日记》中《忘羊录》内容的分析,去挖掘朴趾源的音乐思想及其音乐美学思想对中朝两国音乐发展的作用。朴趾源从审美主客体的角度出发,提出"乐由心生"和"反复古、求发展"思想,并且辩证地分析了审美主体与审美客体之间是相互依存、相互影响的关系。另外,美学中针对"雅俗"之辩一直众说纷纭,朴趾源针对这一说法也有自己的见解。他主张解放思想,摒弃雅俗的对立,渐渐模糊雅俗之间的界限,最终实现"雅俗共赏"。For a very long time people prefer to focus on talking about Piao Zhiyuan and his master piece Jehol Diary, which includes beautiful historic sites, magnificent landscapes, vigorous economies, exotic folk customs, stern political systems and funny stories, However the special music research in this master piece was ignored by us. Therefore, music thoughts in Wangyanglu should be explored to find out their influence on the music devel- opment of China and Korea. In view of the music thoughts, he came up with the ideas of ＂music comes from a person＇s heart＂ and ＂go against the vintage to seek development＂. Moreover, Piao analyzed the relationship between aesthetic subject and aesthetic object, and their interclepenclent relationship. Piao put forward emancipate minds, abandon the opposi- tion and erase boundary between the elegance and the popularity, and then faund out aes- thetics which both suit refined and popular tastes.

关 键 词：朴趾源 《忘羊录》 乐由心生 反复古 求发展 雅俗共赏 

分 类 号：J601[艺术—音乐]