庄子的艺术观与中国传统声乐文化表达  

Zhuangzi’s Artistic View and the Expression of Chinese Traditional Vocal Music Culture

作　　者：张艳林 刘静 ZHANG Yan-lin;LIU Jing(School of Music,Jianghan University,Wuhan 430056,China;School of Music,Hubei Vocational College of Art,Wuhan 430064,China)

机构地区：[1]江汉大学音乐学院,武汉430056 [2]湖北艺术职业学院音乐学院,武汉430064

出　　处：《湖北第二师范学院学报》2022年第1期23-27,共5页Journal of Hubei University of Education

基　　金：武汉市2021年高校教学研究项目“新文科背景下艺术硕士(音乐)人才培养的实践研究”(2021053)。

摘　　要：我国传统唱论中的“真切、自然”的艺术标准与庄子“至乐无乐”“天籁之音”等艺术主张如出一辙;其“字正腔圆、声情并茂”的审美理念与庄子“法天贵真”的艺术思想一脉相承;其“气韵生动、神形兼备”的美学追求与庄子“流光其声”的艺术理论相一致;其“坐忘”“心斋”的美学观对中国传统声乐“歌唱自由”思想的建构有影响。庄子的艺术观与我国传统声乐艺术文化的建构有密切关系。This paper makes a selective study of Zhuangzi’s artistic aesthetics,explains its aesthetic realm and cultural connotation,demonstrates its relationship with Chinese traditional culture,and opens up a new field of Chi⁃nese traditional culture research.This paper holds that the artistic standard of“truth and nature”in China’s tradi⁃tional singing theory is the same as Zhuangzi’s artistic ideas such as“supreme music without music”and“sound of nature”;Its aesthetic concept of“perfect pronunciation and rich voice and emotion”comes down in one continuous line with Zhuangzi’s artistic thought of“Fa Tian Gui Zhen”;Its aesthetic pursuit of“vivid charm and both spirit and form”is consistent with Zhuangzi’s artistic theory of“flowing light and sound”.Its aesthetic views of“sitting and for⁃getting”and“Xinzhai”have an impact on the construction of the thought of“singing freedom”of Chinese traditional vocal music.Zhuangzi’s artistic view is closely related to the construction of China’s traditional vocal music art and culture.

关 键 词：庄子 音乐美学 传统声乐 文化 

分 类 号：I206[文学—中国文学] G462[文化科学—教育学]