Xi Shan Qin Kuang has been considered as the epitomized masterpiece of Guqin aesthetics. However, beauty is less discussed in Qin Kuang, while lobbying groups explained beauty in an unaesthetic way which has caused fallacy of transition. So this thesis will not only clarify the connections between Qin and the aesthetic but will also reveal the aesthetical implications of Qin Kuang. Hereby ponder the primordial discipline and the humanity in art alike.
This thesis contains six chapters. In Chapter 1, I cue the motivation of this study and the research method. With a reference system, it embodies the emergent aesthetic and the aesthetic wishes.
In Chapter 2, I clarify the structure of “er shi si kuang.” First of all, Qin Kuang only explained the theory of traditional qin lun. Secondly, it has come to the two-sides interior structures: “Xin-Zao Hua” and “De-Shen Ren.” Finally, the quality of Qin Kuang revealed was that playing Qin is to manage the minds of the performers themselves, further to the minds of human being as a whole. I emphasis the purpose of playing Qin is to “soothing and calming the minds.”
In Chapter 3, I deliver the fundamental notions of music. Firstly, Qin Kuang took “he bi” to present the “tao” of playing. Followed by “chong-he” to connect “playing” with “temper.” It goes further to the feelings and function of emotion. The “temper” is here to eliminate the “su ching”, further to embody the “shanshiu zhi shi Qin.” At the end of the chapter, I mention that “Tai he zhi chi” is the medium for Qin Kuang. Hereby I educate the “qing xing” in order to “xi sheng.”
In Chapter 4, I deliver the idea that the “beauty” of Qin Kuang is a kind of emergence. I reveal the difficult environment Xu Shangying had faced, then, I point out Qin Kuang was looking for the optimal values of “cho su gui ya, sher mei huan chun” instead of “beauty” itself. Qin Kuang embodies the jihngjieh of Tai He Gu Chang.
In Chapter 5, I delivere Xu Shangying''s life background and his evaluations. Firstly, I discuss how about the identification of Qinshan. Second of all, I point out the preface of “Da haun ger qin pu” mentioned the “recognition.” In a nutshell, my discourse come to the heritage and value pursing of Qin Lun in the late Ming Dynasty. I think “aesthetic will” is not only associated with the pursuing of Qin Tao but also keeping the Qin Kuang going.
In Chapter 6, I unveil in sum, that there was no specific beauty emerged in Qin Kuang, instead, it presented the elaborated value of “cho su gui ya, sher mei huan chun” explicitly, which worked as an approach to improve the difficult situation in the late Ming Dynasty. However, the jihngjieh of qin playing was further to embody the values they pursued in such a fallen era. I emphasis that humanity is to present the “Tai He Gu Chang,” while expecting “You Dao Zhi Shi” to sustain the “qin tao.” In conclusion, I deliver the development and limitation of this research.