唐诗“鸣鹤”意象与唐代古琴审美

On the Aesthetic Image of "Whooping Crane" and Guqin in the Tang Poetry

鹤善鸣善舞,其清亮高朗的音色、高雅优美的姿态与古琴演奏默契相通。唐诗营造的鼓琴意境里,琴、鹤常常形影相伴。鹤鸣之音具有"和""清""高远"的特点,不仅符合唐人古琴审美理想,更被视作"大雅正声"的化身。唐代雅乐凌夷替坏,俗乐、胡乐和佛道之音混入其中,作为雅乐演奏的代表乐器——古琴走向衰微。诗人赞美鹤鸣之音实际表达了对新声竞起、雅乐沦丧的现实反思以及复归先王闳正淳雅之音的理性诉求。

The crane can both dance elegantly and whooping clearly which fit harmoniously to the performance of Guqin and that is why they are often appeared together in the Tang poetry.The sound of crane not only meets the aesthetic ideal of Guqin in Tang Dynasty but also embodies the elegant and classic music.However,with the mixture of other introduced music like folk music,Hu music and Buddhist music,the elegant performance of Guqin gradually declined.Actually the whooping crane that the poets praised just represented their realistic reflections and rational appeals of the renaissance of the formal court music.