體驗區
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| 篇名 |
《天聞閣琴譜．二十四琴品》研究
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| 並列篇名 |
Research on the“24 Epithets on Guqin Music (24 Qinpin)”collected in Tianwenge Qinpu
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| 作者 |
李美燕(Lee, Mei-Yen)
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| 中文摘要 |
本文旨在研究[清]張孔山與唐彝銘合編之《天聞閣琴譜》中的〈二十四琴品〉，以及其與司空圖《二十四詩品》之關聯，兼與徐青山輯《大還閣琴譜》中的二十四《琴況》 （《谿山琴況》）略做比較。基本上，二十四《琴況》是以二十四個「一字評」式的美學範疇，來展示古琴實踐的風格意境，乃是古琴音樂美學上的顛峰之作。然而，二十四《琴況》是否承自司空圖《二十四詩品》的啟發？前人的觀點不一。相形之下，〈二十四琴品〉卻默默無聞，罕為人知。但〈二十四琴品〉標示「用表聖詩品原題」，採用司空圖《二十四詩品》的架構，以同樣的二十四個品題（如雄渾、沖淡⋯⋯等）展開古琴音樂的審美範疇。今本文即擬探討〈二十四琴品〉如何吸取《二十四詩品》的前例融入其文中，其與《二十四詩品》的差異又為何？進而筆者將〈二十四琴品〉與二十四《琴況》相似的範疇略做比較，並提出對〈二十四琴品〉的價值評估與定位。
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| 英文摘要 |
This paper aims to investigate the“24 Epithets on Guqin Music (24 Qinpin)” collected in the Tianwenge Qinpu. Basically, the“24 Epithets on Guqin Music (24 Qinpin)”borrowed the aesthetic categories of the 24 Epithets on Poems (24 Shipin) to express and state the Guqin's musical aesthetics. However, the work is not widely known. The researcher discerns the relationship between these two works by carefully comparing and discussing the form and content of them, in order to clarify how“24 Epithets on Guqin Music (24 Qinpin)”was influenced by the form of the 24 Epithets on Poems (24 Shipin). Simultaneously, the researcher also indicates the individual characteristics of the“24 Epithets on Guqin Music (24 Qinpin)”. In addition, the researcher also compares the“24 Epithets on Guqin Music (24 Qinpin)” with the 24 Epithets on Guqin Music (24 Qingkwuan), in order to discover the differences and similarities between the aesthetic categories of appreciation using single words and compound words. Finally, the author provides an evaluation of the“24 Epithets on Guqin Music (24 Qinpin)”.
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| 頁次 |
051-082
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| 關鍵詞 |
〈二十四琴品〉
、《二十四詩品》
、二十四《琴況》
、《天聞閣琴譜》
、古琴
、“24 Epithets on Guqin Music (24 Qinpin)”
、24 Epithets on Poems (24 Shipin)
、24 Epithets on Guqin Music (24 Qinkwuan)
、Tianwenge Qinpu
、Guqin
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| 卷期 |
37
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| 日期 |
201907
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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 |
10.3966/101562402019070037002
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