體驗區
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| 篇名 |
《谿山琴況》與《林泉高致集》中「遠」的美學意涵之比較
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| 並列篇名 |
Comparison of the Aesthetic Significance of “Yuan”（遠）in the Theories of Xisan qinkuang（《谿山琴況》）and Linquan gaozhi（《林泉高致》）
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| 作者 |
李美燕(Lee, Mei-Yen)
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| 中文摘要 |
本文旨在就《谿山琴況》的「遠」況與《林泉高致集》的「三遠」法所論之「遠」的審美範疇進行比較，考察兩者之間的同異。首先，分別解析兩者提及「遠」的意義，指出「意」的觀念乃是兩者論及「遠」之審美範疇的關鍵。其次，再比較兩者所提及「遠」之審美範疇的同異，從中得見古琴與山水畫雖為不同媒材的藝術，但兩者對於技藝都有嚴謹的要求，且由藝入乎「道」都有受到道家思想的影響。再者，兩者都強調內心修養的重要性，徐谼指點彈琴者從世俗塵囂中解脫，讓心靈自由馳騁而無罣礙，以體認氣化神遊的意境之遠；郭熙則提出作畫者當飽遊飫看天地之景觀及遍讀詞章文學，作為取法自然而裁剪山水畫景觀的靈感；兩者的共同理想都在追求心靈空間的「遠」，亦即「意」中之遠。
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| 英文摘要 |
This research compares the aesthetic significance of “Yuan” (distant, far, and profound) through the theories of guqin music: Xisan qinkuang and landscape painting: Linquan gaozhi, examining the similarities and differences between them. The author classifies and arranges the aesthetic categories of “Yuan”, through the theories of the guqin music and landscape painting, and separately analyzes the meaning of “Yuan” in these two fields. The research indicates how the concept of “Yi” (意，consciousness) provides the basis for the formation and evolution of the aesthetic category of “Yuan” in Xisan qinkuang and in Linquan gaozhi. Finally, the author compares the common ideal of the aesthetic category of the "Yuan" in the theories of Xisan qinkuang and Linquan gaozhi. Through detailed collation and analysis, the research interprets how beauty emerges from the significance of the “Yuan” in the theories of guqin music and landscape painting.
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| 頁次 |
173-204
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| 關鍵詞 |
古琴
、山水畫
、《谿山琴況》
、《林泉高致集》
、遠
、“Yuan” (distant, far, and profound)
、theory of guqin music
、theory of landscape painting
、Xisan qinkuang
、Linquan gaozhi
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| 卷期 |
39
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| 日期 |
202007
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| 刊名 |
藝術評論
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| 出版單位 |
國立臺北藝術大學
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| DOI |
10.3966/101562402020070039005
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