禅苑绽新葩:禅宗音乐美学探讨的理论问题

Zen Garden Flower Blossoming: Theory of Zen Musical Aesthetics

通观禅宗音乐美学论述,可以发现,不少禅师的上堂说法、偈颂,都曾引用一些古琴名曲喻禅理、揭禅旨。禅师们闻琴、听琴、赏琴、说琴、弹琴,表明他们对古琴艺术的喜好和造诣,琴乐在他们的日常生活中占有重要地位;同时说明以琴说法在"以音声为佛事"活动中的重要性,琴道与禅理相通,琴与禅的一致。他们在琴乐方面的兴趣、说法、见解,成为其音乐美学思想的重要内容之一。禅宗关于音乐美学探讨的理论问题,除了论及诸如"以音声为佛事""以乐喻禅"等问题外,还涉及音乐创造之本源、音乐艺术之特征、审美主体之心灵建构、音乐艺术之审美追求等几个方面。

It is easy to find that a lot of Zen Gatha have cited some Guqin Songs to illustrate Zen theories and principles. They listened to, apprecited and played Guqin, which shows that they have great preferences and at- tainments of Guqin art, and guqin music plays an important role in their daily life; at the same time, it also shows the importance of ＂illustrating Fa with Guqin＂ in Buddhist activities, the coexistence of Qin Tao and Zen. One of the important contents of their musical aesthetic thoughts is their interest, views and opinions about Guqin music. The theory of music aesthetics of Zen not only includes ＂sound for Buddhist＂, ＂Le Yu Chan＂ etc, but also touches upon music creation origin, music features, aesthetic subject construction and music aesthetic pursuit etc.