从状物写声到说理言志——论唐代琴赋的新变及其原因

From Describing Objects to Expressing Aspirations: On the Changes of qin(琴) fu(赋) in the Tang Dynasty and Its Reasons

琴赋是中国古代音乐赋中的重要门类,自汉至清历代不绝。汉魏六朝是琴赋的发轫期。此时期的琴赋数量众多,文采斐然,但皆为体物之作,旨在客观真实地描写古琴,具有固定的创作程式,陈陈相因,渐趋僵化。唐代是琴赋的新变期。较前代琴赋而言,其新变主要体现在三方面,即吟咏对象从单一到多元,创作主旨从体物到言志,赋体从骈、散到格律化。而唐代琴赋具有借题发挥、寓意遥深的特点,是典型的说理言志之作,与汉魏六朝琴赋及唐代其他乐器赋大异其趣,颇为独特。之所以出现这样的现象,其根源是科举试赋制度在中唐的确立,同时也与古琴在中国文化中所占据的崇高地位有关。

Qin fu is an important type of Chinese classic music fu, and persistently existed from Han Dynasty to Qing Dynasty. Qin fu originated in the Han, Wei and Six Dynasties. In this period, numerous works of qin fu, which were full of decorated diction, were spring up. However, all of them were the fu of description, aimed to describe the qin objectively and truthfully, and had a fixed authoring pattern. Afterwards, qin fu changed in the Tang Dynasty. Compared with the works of previous period, the new changes of qin fu in the Tang Dynasty mainly reflected in three aspects. Firstly, the description object became pluralism from oneness. Secondly, the creating purport became expressing aspirations from describing objects. Thirdly, its literary form became metrical from prose. In a word, the works of qin fu in the Tang Dynasty are typical articles of expressing principles and aspirations by making use of a subject to elaborate the ideas and aspirations of the authors. It was different from qin fu of previous period and the other fu of instruments in Tang Dynasty. The cause of this phenomenon is that fu played an important role in the imperial examination from the middle Tang to the late Tang, and it is also connected with the unique and lofty status of qin in Chinese culture.