静心·格己·古雅:《溪山琴况》中的乐境创构观--兼论与明代江南审美文化的关系

On the Creation of Music Scene in“Xi Shan Qin Kuang”--Also on the Relationship with Jiangnan Aesthetic Culture in the Ming Dynasty

徐上瀛的《溪山琴况》从江南审美文化中萌生与形成,呈现出独特的美感经验与批评旨趣。从主体的角度来看,《溪山琴况》延续江南审美强化自然生机对蒙养人格精神的重要性,也突出强调以自然之音安顿心灵,创构鸢飞鱼跃的乐境。从技艺角度来看,明代江南审美普遍注重“格物”与“格己”,精致和严谨的审美意识,推动《溪山琴况》专注雕琢与研习技艺,并明确审美感知贯穿于研习和演奏的整个路径。最后,从批评角度来看,江南审美文化与《溪山琴况》都以古为雅延续文脉,以期打破奢靡、虚弱的社会风气,创造独属明人的审美意境。可以说,《溪山琴况》将江南审美文化的独特性融入乐论,以古琴之音营造出空灵、古雅和闲适的江南审美旨趣。

Xu Shangying's treatise Xi Shan Qin Kuang sprouted and formed from the aesthetic culture of the south of the Yangtze River,presenting a unique aesthetic experience and critical interest.From the perspective of the subject,Xi Shan Qin Kuang continues the aesthetics of the south of the Yangtze River,and strengthens the importance of natural vitality to the cultivation of personality and spirit.It also highlights the importance of settling the soul with the sound of nature and creating a happy scene of flying kites and leaping fish.From a technical point of view,the aesthetics of the south of the Yangtze River in the Ming Dynasty generally paid attention to"observing the nature"and"observing oneself".The refined and rigorous aesthetic awareness promoted Xi Shan Qin Kuang to focus on craftsmanship and study,and clarified that aesthetic perception runs through the the entire path of study and performance.Lastly,from a critical point of view,the aesthetic culture of the south of the Yangtze River and Xi Shan Qin Kuang continue their cultural heritage with ancient elegance,in order to break the extravagant and weak social ethos and create an aesthetic conception unique to the Ming people.It can be said that Xi Shan Qin Kuang incorporates the uniqueness of the south of the Yangtze River aesthetic culture into music theory,and uses the sound of the guqin to create an empty,quaint,and leisurely aesthetic of the south of the Yangtze River.