二胡演奏中的民族文化蕴涵——苟永森的人文“琴学”观审视

On the Humanity Outlooks on Music Instruments by Gou Yongseng:National-Cultural Implications in Playing Erhu

巴蜀著名二胡教育家家苟永森的二胡"琴学"观,以沉思痴迷的禅色贯穿始终。概而言之,"顿悟"是其学理的根本,"棒喝"乃其学术之正念,渡人自渡唯创作之至理,"悲悯"实是其艺术之真谛。因而其教学、表演、创作、理论四位一体的谨严规范科学的二胡"琴学"体系,在中西贯通、佛道互吮里深深浸润着宗教的出世与艺术之入世人文蕴涵,同仁之盛赞、后学之敬仰、知音之膜拜,盖由此出。

With a Zen color, meditation is of essence in the humanity outlooks on music instruments put forward by Gou Yongseng, a famous Erhu educator in Sichuan. Briefly in his academic research, the basic aim is to seek for a sudden comprehension of the truth ; the purpose is to offer a blow and a shout to waken others from error; the creation is to express the religion solicitude of saving people and saving oneself; and in his eyes, the meaning of art is to have sympathy for others. Thus, it is he who is able to establish systematic humanity outlooks on teaching, performing, creating, and theory of Erhu, a national musical instrument. And, because of his unique thinking on national- euhural implications in playing Erhu, he has been admired, respected, and understood by his colleagues, students, and bosom friends.