援书论琴:论书学理论向琴学理论的渗透

The Infiltration of Calligraphy Theory into Qin Performance

书学理论在中国传统艺术理论中具有向其他门类理论渗透的特征。传统琴学理论在讨论技法问题时往往涉及书学理论。“援书论琴”是一种艺术通感现象,其形成赖以书法与古琴强调线条与节奏的共通审美基础,以及文人群体自身对古琴与书法的艺术实践。“援书论琴”的理论阐释,主要体现在以笔法论指法的问题上,兼有以用笔理论论琴学流派的现象。“援书论琴”显示出传统琴学观念中对习琴者文人身份的重视,即默认习琴者在工琴之外应兼具书画等综合修养。

The theory of calligraphy has the characteristic of penetrating into other theories in traditional Chinese art.Traditional qin theory often incorporates calligraphy theory when discussing performance techniques.This relationship represents an artistic synesthesia,grounded in the shared aesthetic principles of calligraphy and guqin,which both emphasize lines and rhythm.It also stems from the artistic practices of the literati group,engaging in both guqin and calligraphy.This integration is prominently seen in the discussion of qin performance fingering using calligraphy writing techniques.Additionally,there is a phenomenon of employing writing theories to explore qin schools.This implies that qin learners should possess a comprehensive education in calligraphy and painting,in addition to their qin playing.