The Research On Xi Shan Qin Kuang's Aesthetic Ideas

At the end of Ming Dynasty,Xu Shangying,a famous instrumentalist,wrote a book entitled Xi Shan Qin Kuang.Yueji,Music is Irrelevant to Grief or Joy and Xi Shan Qin Kuang become the representative works in the period of great prosperity on ancient Chinese ideology of music aesthetics.Qin Kuang means guqin's traits.Xu Shangying imitate Si Kongtu's Twenty-four Poetry Style,proposing 24 aesthetic categories about Guqin in Xi Shan Qin Kuang.He made the close combination of theory and practice,launching comprehensive study of the art of Guqin.This work relates to the relations between string and finger,pronunciation and meaning,and form and spirit,a blend of Confucianism,Buddhism,Taoism and the military commander thoughts.Moreover,this work is logical and dialectical,containing rich aesthetic ideas.It sets the Guqin aesthetics ideas and promote the development of modern aesthetics and art of Guqin music.In this paper,I try to excavate the aesthetic ideas in the book by new eyesight.This paper is divided into five parts.The introduction chapter describes the origins,significance,the analysis of the domestic and foreign research situations,basic idea and innovative points.The first chapter discusses the aesthetic ideas of the skills.From the aesthetic standard of performance techniques to the aesthetic feelings of the players,and then to the aesthetic realm,in accordance with the logical order of the layers.Xu Shangying has the martial background,so his works on the aesthetic standard of playing techniques showing characteristics of classical tactical “jizheng”,“qingzhong”,“movement and silence”,“virtual and reality” and “law”.Because of his career blocked,he lived in seclusion in the mountains at last.As to the aesthetic emotion,the author want to be in peace,quiet and tranquil.He also looks forward to the aesthetic realm that is peaceful,quiet and aloof.The second chapter mainly discusses the aesthetic concept of the environment.This work is full of poetic in the description of environment,showing the matched landscapes of rigid and flexible beauty,quiet and elegant to the mysterious realm,and object and subject blends.It contains rich philosophical implication,such as Chinese traditional landscape cultuer,the “light of tasteless”and “harmony between man and nature”,having important significance to the modern people's environment idea and life attitude.The ideal living environment should be the unity of practical and aesthetic.It is not only to facilitate people's life and work,but also to obtain the poetic beauty,so that the soul can have a good rest.In addition,people should constantly cultivate their own aesthetic mind.The third chapter discusses the structure of the work.This work's aesthetic form can be divided into manly beauty,feminine beauty and neutral beauty,according to Guqin's sound,thythm,tempo and the mental state while playing the Guqin.Although they may not be the aesthetic form in the strict sense,but each part is at least a basic element of the specific aesthetic form.The last chapter discusses the historical heritage of the aesthetic concepts of Xi Shan Qin Kuang.The musical aesthetics thoughts of pre Qin Dynasty lay a foudation of the history of Chinese music aesthetics.The thoughts on “the harmonious music” and “the sound of silence” root in the musical aesthetics thoughts of pre Qin Dynasty.What's more,Twenty-four Poetry Style and Xi Shan Qin Kuang have the same points in creation method,named concept and aesthetic aspects of the profound impact of the former on the latter.Finally,the other later instrumental performance should inherit Xi Shan Qin Kuang's aesthetic ideas,including “the songs touch the heart”,“the meaning lies outsides the strings” and ”inner peace”.That today we learn the essence of Xi Shan Qin Kuang's aesthetic ideas and critically inherit the author's ideal about Guqin music will promote the unique Chinese Guqin art revival.