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    Title: 太和鼓鬯 : <<谿山琴況>>的美學觀研究
    Other Titles: Tai He Gu Chang : a research on aesthetics of Xi Shan Qin Kuang
    太和鼓鬯 : 谿山琴況的美學觀研究
    Authors: 林彥邦;Lin, Yen-Pang
    Contributors: 淡江大學中國文學系碩士班
    蕭振邦;Shiau, Jenn-Bang
    Keywords: 古琴;琴況;突現美學;美學意願;中介嵌結法;Guqin;Qin Kuang;Emergence Aesthetics;Aesthetic Wishes;method of mediated connections
    Date: 2012
    Issue Date: 2013-04-13 11:45:50 (UTC+8)
    Abstract: 《谿山琴況》向來被視為古琴美學的集大成之作,然而《琴況》卻鮮少論及美,又前賢先進往往以非美感(aesthetic)性質去解釋美,造成了範疇錯置的謬誤。故我這本論文試圖藉此釐清琴學與美學之間的嵌結關係,並試圖揭露《琴況》之美學涵義,期許從中國美學的角度,重新尋索人在藝文活動中蘊涵的根源特質,並避免忽略傳統琴人重視的人存之道。
    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.
    Appears in Collections:[中國文學學系暨研究所] 學位論文

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