"heart" And "sound" Of Interpretation

The late Ming period of Chinese history, a special historical period, then the rapid development of commodity economy, and increasingly corrupt political system has ossified, the city was filled with extravagant pleasure of the wind, different people have Muqi good, chasing imaginary floating by All these led to the late Ming Dynasty in the economic structure, values, moral standards, etc., a series of unprecedented change. In such a chaotic but dynamic era, as the intellectual elite of the late Ming Dynasty began with the traditional thinking of the people, the social reality and the profound reflection of life itself. Their thoughts were all share a common characteristic, that is, changes in sight, from past to "Outside" attention turned to the "saint" of the practice, from the "reason" for the external search for turning "mind" The depth of excavation, summed up from the outside to inside, the human consciousness as the fundamental existence of life. For the human subjectivity of this concern, not only by external objective factors, the more direct reason is that under the then prevailing doctrine - the impact of Yangming Confucianism, Buddhism and Taoism as well as a tendency to inspire confluence.This paper selects Li Zhi, Hongdao, Tang, Huang Tao Zhou music scholars of the four ideas for the study, the reason is that four of them for the main body of the "heart" of the different interpretations of the study include the king the "heart" with all the content. The same time, the four scholars all have experience of the old Zen school, so their "heart" of the interpretation which has incorporated Buddhist ideas in there, so the music has some of the innovative. At the same time, they also order an aesthetic way ("Sound") to resolve the Wang of "mind" the existence of theoretical issues, which also makes the late Ming's aesthetic theories assume a new responsibility, that is, when the scholars of Jing Shen activities in the field of philosophy not to display their words, can also be a field of music aesthetics implemented. Therefore, this paper argues for the voice of the four scholars question the interpretation of the late Ming Dynasty who embody the principal of the "heart" of the depth of search and comprehensive thinking, but the "heart" of the different tevels of interpretation have led to the late Ming people in different areas of new understanding of music, thus making the late Ming's aesthetics reveal a wide range of theoretical structure. Therefore, this paper argues that the four scholars selected on the thinking of music as object of study, has some typical sense, this expectation can be played through the study of the role of a point on behalf of the face.Li Zhi's "Heart Yin with the same", Hongdao's "true voice" proposition; Tang's "charm look"; Huang Tao-week "Music with Sorrow." They are the "heart" as a theoretical starting point, but each person's understanding of the heart not the same, Li Zhi from the "sage of the heart" to view overlooking the world; Hongdao the heart of the laity is to head-up the public; Tang is Heart of the literati to create their personal space. And the ecliptic week on the relationship between mind and sound interpretation of the same time, again in a rational analysis approach to correct the late Ming were empty and shallow stream in the academic atmosphere. Finally, we Musical Aesthetics in the late Ming to sum up the overall trend: vertical is the "heart" of the deep excavation, horizontal is the "voice" of the areas, and there is an interaction between the two, the "heart" of the deepening of understanding is "sound" continuously expand the basis of the "voice" in turn, promote the continuous development of people for the "heart" of a deep sentiment.