“新希声主义”与古琴当代复兴运动  

The Contemporary Revival of Guqin and the “New Xishengism”

作　　者：李晓梦 LI Xiaomeng(College of Philosophy,Nankai University,Tianjin 300353)

机构地区：[1]南开大学哲学院,天津300353

出　　处：《文化艺术研究》2022年第4期70-80,114,共12页Studies in Culture and Art

摘　　要：“新希声主义”是对当代中国琴学审美精神的观念描述,其背景是“古琴发新声”的历史新探、马克思主义美学的认识论重构与后现代的听觉转向。当代中国琴学经历了初创、复兴、转型与深化等阶段,其历史特征可描述为民间平民主义世俗化、音乐部门主义技术化、民族本位主义象征化、精致多元主义融合化。琴学在当代学术景观中具有声音、音乐、文化的多重价值属性,在新中国成立七十余年以来基本完成了其美学品格的构建。当代琴学复兴运动的历史经验启示了后当代琴学的三大发展主题,实现了现代性的内在转换,开辟了世界学术语境视野下琴学研究独立的必经之路。“New Xishengism” is a conceptual description of the aesthetics of contemporary Chinese guqin studies in the context of a new wave of exploration into guqin’s history,a epistemological reconstration of Marxist aesthetics,and atransition of postmodern acoustics.The contemporary Chinese guqin studies has experienced stages including startup,revival,transformation,and deepening.Its historical characteristics can be described as populist popularization,music departmentalist technicalization,nationalist symbolization,and refined pluralist integration.In the contemporary academic landscape,guqin studies havesignificant values interms of sound,music,and culture,and has constructed its basic aesthetics since the People’s Republic of China.The historical experience of the revival of contemporary guqin studies has revealed the three themes of post-contemporary guqin development,realized the inner transformation of modernity,and found a path for the independence of guqin studies in the global academic landscape.

关 键 词：“新希声主义” 当代琴学 复兴 民族本位主义 世界视野 现代性 

分 类 号：J620.9[艺术—音乐]