古琴美学的历时性架构

On Time-lasting Skeleton in the Aesthetics of Guqin

文章对古琴美学进行历时性的梳理 ,指出它发展的起点和动力是自娱性的功能论。正是在这种功能论的驱动下 ,先后产生了本体论、审美论和演奏论 ,形成古琴美学的几大重要板块 ,然后在徐上瀛那里得到综合性的表述。最后还探讨了如何使古琴美学走向现代的问题 ,提出在发展娱人性功能论的基础上确立以表现论为主题的思路 ,并尝试性地拟出

In this paper, the writer sifted throughout the lore retaining to guqin (chi'in). The writer suggested 'self amusement' as the primary impetus for the development of this instrument and it's technique. It was this function of self amusement that brought about successively the instrument's ontology, aesthetics and performance technique. Xu Shangying made a comprehensive enunciation afterward. The last part of the paper discussed methods and issues involved with modernizing the guqin . 8 fundamental problems facing guqin players were brought to light and discussed and the writer suggested that future development of the instrument and it's technique be based on it's fundamental idea of self amusement.