The Art Of Qin In Historical Process

This dissertation, from the perspective of historical anthropology, observes the origin, development and current situation of the schools of qin in particular regions. The study shows that the historical and cultural phenomena related to the schools of qin reflect the relationship between the art of qin on the one hand and the natural geographic and human geographic environment and people on the other. The phenomena also demonstrate the relationship among music, region and people, which is a factor behind the regional art of qin, represented by the various schools, and which is concerned with in socio-cultural geography.The dissertation is made up of the introduction, the main body and the conclusion.The introduction presents the reasons for and the significance of the choice of the subject, looks back upon the scholarship of qin since the modern time and examines the new tendencies of the study on the schools of qin since the 21st century. It also points out the perspective and methods the author adopts in this study.The first chapter is concerned with the evolution of the sense of school. It serves as the background of the entire study on the one hand, and responds to the later research. It gives an systematic summary of the documents about the school of qin from all ages, which reflect the evolutionary process of the awareness of schools in ancient China. Thus, this chapter analyzes the three levels of the sense of schools, influenced by regional factors.The second chapter provides an archaeological and cultural-geographic study on some of the cultural heritage of the qin art in Shu region before the formation of Shu School, including the earthen figures playing qin from Eastern Han and lei qin, a type of qin, from Tang Dynasty. It also examines the close relationship between the evolution of the early art of qin in Bashu region and the assimilation of the southwestern of China by the culture of Han nationality during the early time of the formation of the latter culture. The natural geographic environment, on which the nourishment of the qin art of this region depended, is also paid attention to in this chapter.The third chapter deals, in terms of cultural geography, with the influence of the activities of artists from the area, which is that of today's Jiangsu and Zhejiang Provinces, on the establishment and representative pieces of Shu School. This suggests that during the cultural diffusion of music, the cultural acculturation played an important part in the formation and continuation of Shu School as well as its musical style.The fourth chapter offers an exploration of the current situation of the qin art of Shu School. It focuses on the unique cultural landscape of the qin house in the Taoist and Buddhist temples, as well as Chengdu International Conference of Qin. In this chapter, the author put the factor of human being in the particular time and space, and analyzes the distinct structure of community naturally formed by the artists in the natural and cultural circumstances of Shu region.The Conclusion has summarized this investigation's significance for "Shu school" research, and then the conclusion unfolds the cultural-geographic thought hidden in the history. It shows the particular cultural-geographic significance of some cultural events and musical phenomena in the regional qin culture, represented by schools. It also explains how a culture has been preserved by the particular time and space where it originated, and how the art established a relationship with regional environment through human beings. Furthermore, the conclusion deepens our understanding of the art of Chinese qin and its history by the research of the culture and history of regional schools with vivid case study.