浅析谷崎润一郎的文艺复古美学之追求——以《春琴抄》中的三弦琴与主人公内心世界之关系为例

On Tanizaki Junichiro's Pursuit of Retro-Art Aesthetic——Based Upon an Analysis on Bond Between Japanese Shamisen and Inner World of Heroes in Shunkinsho

谷崎润一郎在《春琴抄》中以三弦琴为主线,刻画出主仆兼师徒关系的春琴和佐助内心世界,委婉含蓄地勾画出具有古典美、传统美的艺术境界。女主人公春琴克服失明、毁容等人生种种艰辛,坚持不懈地探索和攀登音乐艺术高峰;其徒弟,也是她的崇拜者佐助勤奋努力,坚定不移,最终不惜失去自己的双眼完全彻底地理解和领悟了师傅毕生追求的艺术真谛。两者完美地构筑起了古典文学中描绘的"高山流水""知音"的美好意境,体现了作者探索回归日本古典美、传统美的文艺复古美学的艺术追求。

Tanizaki Junichiro succeeds in depicting the inner world of shunkin （春琴） and sasube （佐助）, who are teacher and student as well as master and servant, by employing the Japanese Shamisen as a underlying thread in his novel Shunkinsho. The novel unfolds before the readers an artistic realm of classical and traditional beauty in an implicit way. The heroine shunkin （~） is painstakingly persistent in her reaching a climax in art in spite of the great difficulties brought by her blindness and disfigurement. Meanwhile, sasube （佐助）, her student and admirer, makes strenuous efforts to fully understand the essence of art that his teacher has pursued for life at the cost of losing his eyes. The beautiful scenery of mountains with flowing water established by the two of them reveals the artistic pursuit of the author in his exploration of returning to classical and traditional beauty.