A Study On The Aesthetic Category Of Xi Shan Qin Kuang

Xi shan qin kuang by Xu shangying has always been regarded as a masterpiece of the aesthetic ideology of Guqin. It is also a significant work in Chinese musical aesthetic history."24Kuang" mentioned in Xi shan qin kuang, also known as twenty-four aesthetic categories, has a tremendous impact on the research on technology of musical instrument. Those categories did not form without foundation. On the contrary, they were influenced by Xushangyin’s own experience and the genre of "Yu shan"Besides, it is strongly connected with the historical background of the early period of Qing dynasty, and is linked to the publish of "Ershisi Shipin" as well. Moreover, the24categories is a integrated aesthetic system with solid logic. The first four are about the ambience of Guqin, whereas the fifth to ninth is about the genres. From the tenth to the14th, the piece covers the characters of the sound of the instrument, while the last ten are regarding the techniques. Those four parts depend on each other, comprising a unity, which embodies typical Chinese musical aesthetic ideology of Confucianism, Taoism and Buddhism. The aesthetic category of "Xi Shan Qin Kuang" is also in common with other traditional aesthetic categories. For instance, they are in common with the artistic conception, techniques of expression, the sensation of appreciation, etc. It indicates that different categories of art are in chorus with each other to some extent. These reasons make "Xi Shan Qin Kuang" in the selection of the aesthetic category, and Chinese calligraphy Aesthetic Category has some overlap, this is not a coincidence, but rather reflects the traditional culture in the Chinese invasion, the different kinds of art also has a commonality between embodies the common aesthetic tendencies and aesthetic spirit.