早期听觉文化视域下的山水美感生成

The generation of landscape aesthetics from the perspective of early auditory culture

早期听觉体验先于视觉体验,对于山水美感的生成而言至关重要。上古时期,古人主要以乐舞的方式表达对上帝的礼敬和自然的崇拜,展现出以听觉体验为主的天人感应关系。到了汉朝,春秋时期以来的山水听觉意象转变为儒家圣贤的道德象征;同时,表现出以“悲哀”为美的情感取向,尤以《七发》山水—乐器—审美体验的写作模式为代表。至魏晋时期,在以嵇康“声无哀乐”为代表的道家听觉美学以及道教养生思想场域下,山水之听觉美感在与琴乐的共鸣中生成,并开始出现视觉转向。

The early auditory experience precedes the visual experience,which is crucial for the generation of landscape aesthetics.In ancient times,the ancient people mainly expressed their respect for the Heaven and their worship for nature through music and dance,demonstrating a relationship between heaven and man based on auditory experience.In the auditory culture of Han people,the auditory imagery of landscape since the Spring and Autumn period has been transformed into a moral symbol of Confucian sages.At the same time,it exhibits an emotional orientation of"sadness"as beauty,especially represented by the writing mode of"Qi Fa",which includes landscape,musical instruments,and aesthetic experience.During the Wei and Jin dynasties,in the field of Taoist auditory aesthetics represented by Ji Kang's"sound without sadness and happiness"and Taoist health preservation ideology,the auditory beauty of landscape was generated in resonance with lyre music,and began to take a visual turn.