论吟诵

On Chinese Chanting

吟诵是一种依据文字的声调行腔使调的读书法,是介于诵读与唱歌之间的汉文古典作品口头表现艺术形式。吟诵自由、即兴,重在因声求气,涵咏入境,亲切地体会作品而没有乐谱的限制。吟诵的规律大抵有三条:平长仄短、平低仄高或平高仄低、平直仄曲。方言不同,文体相异,吟诵的调式亦各具形态。吟诵注重从声音证入,乃创作与鉴赏古典诗文的不二法门,又系国学教育、文学传播、人才培养的重要途径。吟诵源于我国诗乐一体的传统,吟诵声腔的形成与东晋南朝以来的佛经转读有关,主要得力于有清一代桐城派古文家的倡导,"五四"新文化运动之后渐趋式微。唐文治与赵元任是近现代吟诵的先驱。20世纪90年代以来,吟诵重振,渐呈中兴之象。吟诵是活态的非物质文化遗产,系小众文化,品位高雅,在当下多元艺术门类中有其存在的空间。

Chanting is a form of articulation based on the voice and intonation of the Chinese characters. It＇s an oral art manifestation of traditional Chinese literature works between reading and singing. Chanting is characterized by its freedom and impromptu, with the emphasis on the feels of the text and context while pronouncing the different sounds and experiencing the freedom of chanting without following the fixed music notes. There＇re three rules in chanting： level tone is long and oblique tone is short, level tone is low and oblique tone is high or vice versa, and level tone is straight and oblique tone is circuitous. For difference of dialects and literary styles, the forms of chanting are also numerous and varied. Chanting stresses on confirmation from the pronunciation., It＇s the only proper way to create and appreciate the ancient Chinese literature. It＇s also an important way to cultivate Chinese classics, disseminate literature and educate the talented people. The origin of chanting dates back to the integration of tradition of poetry and music. The rhythm and tone are influenced by the translated readings of Buddhist sutras from Eastern Jin and Southern dynasties. Chanting was advocated more strongly by Tongcheng school writers of the Qing dynasty. It began to wane after the May 4th Movement. Tang wenzhi and Zhao yuanren are the leading pioneers of chanting at modern time. From the 1990s, it became re-energized again. Chanting is a form of living Intangible Cultural Heritage, elegant and enjoyed by a small group of people. Chanting has its living space in ample category of arts.