“希声主义”与古琴审美精神——兼论“无弦琴”的声音美学

Xi Sheng Doctrine"and the Aesthetic Spirit of Guqin--On the Sound Aesthetics of"Stringless Qin"

“希声”是基于声音研究视角对古琴审美精神的哲学抽象与总结,在琴声的本体论层面上,“希声”表现为“以音为声”的乐律元音;在演奏实操中,它指与有声乐音互训的静默乐音;在审美层次上,“希声”是预设的完美声音理想,具有形而上学性。“希声主义”源于古代中国的听觉审美传统,通过对琴史上典型的弃声案例之分析,为“无声之声”到“无声之听”建立基于古琴演奏实际与文人审美趣味的两种逻辑进路,为“弦外之音”提供了不仅限于文人之“意”的音乐学说明,指出“希声”在音乐演奏中的客观存在,为琴的声音、声法、声境确立基于古代声音审美传统的艺术原则。

ion and summary of the aesthetic spirit of ancient qin based on the perspective of sound research.At the ontological level of qin sound,"xi sheng"is manifested as a musical vowel with sound as the sound;In practical performance,it refers to the silent music that mutually comments with voiced music;At the aesthetic level,“xi sheng”is a predetermined ideal sound with metaphysical properties.The doctrine of"xi sheng"originated from the auditory aesthetic tradition of ancient China.Through the analysis of typical abandoned sound cases in the history of qin, two logical approaches based on the actual performance of ancient qin and the aesthetic taste of literati were established for the transition from "silent sound" to "silent listening". This provides a musicological explanation for "off string sound" that is not limited to the "meaning" of literati, and points out the objective existence of "xi sheng" in music performance, which is the sound, sound method, and aesthetic taste of qin. The establishment of sound environment is based on the artistic principles of ancient sound aesthetic traditions.