清代琴乐游艺传统研究  

A Study on the Entertainment Tradition of Qin Music in Qing Dynasty

作　　者：吴安宇[1] Wu Anyu

机构地区：[1]湖南师范大学音乐学院,湖南长沙410081

出　　处：《南京艺术学院学报（音乐与表演版）》2021年第4期113-119,I0003,共8页Journal of Nanjing Arts Institute:Music & Performance

基　　金：国家社科冷门“绝学”项目(2018VJX029)的阶段性成果。

摘　　要：在当代古琴商业化危机和文化生态环境改变下,“琴乐存亡论”成为热点问题。当我们追溯去今最近、且较具代表性的时期——清代,发现传统儒家文化语境中琴乐主体的生存状态、传播方式等因素在这里已悄然变异,“入幕琴师”“悬牌教琴”“贩卖琴器”等三种琴家职业方式表明——清代古琴商业化初呈常态。整体来看,清代大部分游艺琴家仍捍卫着“乐之正统”的文化身份与地位、弘扬“乐以像德,琴以修身”的正统思想,向世人展示出“崇德乐群”的文化气质和时代精神。在当下古琴传承与保护困境中,清代游艺核心价值观“崇德乐群”应是琴乐艺术的传统转型与当代重建的关键点。When we trace back to the recent and representative period-the Qing Dynasty,we find that the living state and communication mode of the main body of the qin music in the context of traditional Confucian culture have quietly changed here.The three professional modes of the qin artists,such as"screen master","hanging board and teaching qin",and"selling qin and tools",show that the commercialization of ancient qin in the Qing Dynasty was beginning to become normality.On the whole,most entertainment qin artists in the Qing Dynasty still defended the cultural identity and status of"music orthodoxy",carried forward the orthodox thought of"music is like morality and qin is self-cultivation",and showed the cultural temperament and spirit of the times of the"Chong De Yue Qun"to the world.In the current dilemma of inheritance and protection of the qin,the exploration of the core value of entertainment"Chong De Yue Qun"in the Qing Dynasty should be of positive significance to the traditional transformation and contemporary reconstruction of qin art.

关 键 词：游艺 古琴 崇德乐群 价值观 

分 类 号：J632.31[艺术—音乐] J607