Confucianism, Buddhism and Taoism in Guqin aesthetics are the most representative traditional musical instruments in China, with a history of at least 3,000 years. In the long-term development of guqin, there are not only many works handed down from generation to generation, but also rich piano paper. From the Book of Songs and Zuo Zhuan in the pre-Qin Dynasty to the Land of Qin Xue in the Western Hills and the Essence of Qin Xue in the Ming and Qing Dynasties, the development of traditional guqin aesthetic thought is outlined. Looking through these documents, we can find that Guqin's aesthetic thought is closely related to Confucianism, Taoism and Buddhism. In the pre-Qin period, Confucianism and Taoism put forward their own aesthetic opinions on guqin. After Wei and Jin Dynasties, Buddhist thought began to gradually penetrate into the field of guqin. Since then, Confucianism, Taoism and Buddhism have all influenced the development of the traditional guqin aesthetic thought, and each of them put forward many aesthetic ideas, among which "Qin Zhe, Ban Ye", "Qin Zhe, Xin Ye" and "attacking Qin as meditation" are more important, which respectively embody the guqin aesthetic thoughts of Confucianism, Taoism and Buddhism.
Confucianists
"Offenders are forbidden" is the most important proposition in traditional Guqin aesthetics. The ban on guqin characters began in the Han dynasty. What's the new theory? 6? Qindao (1), which was later developed by Bai Hutong, has been influencing the development history of guqin aesthetics in China for nearly two thousand years.
"Offenders are forbidden" represents the Confucian music thought, because Confucianism occupies an extremely important position in Chinese guqin culture and is also the mainstream thought of guqin aesthetics. Confucianism advocates "banning" guqin, mainly based on its understanding of the basic functions of music. Confucianism believes that the primary function of music is enlightenment, so the starting point of its aesthetic thought is that music serves politics and etiquette. Guqin, as a representative of Chinese traditional musical instruments, is regarded as the "first of eight tones" and is of course endowed with the essence of governing the country and ensuring peace. Therefore, emphasizing practical function is an important feature of Confucian guqin aesthetic thought. "Zuo Zhuan" "It is also a gift for a gentleman to get close to the piano. Why not? Heart also ","Newspeak? 6? 1 doing nothing, such as "Yesterday, Yu Shun ruled the world, played the piano with five strings, and wrote the poem" South Wind ". If you are silent and have no intention to govern the country, if you are indifferent to the people, you will govern the world. "It is the first to trace the relationship between music and politics and establish the thought of ritual and music in the field of guqin. Since then, the relationship between music, politics and etiquette has become the core issue emphasized by traditional Qin theory. Huainanzi? 6? 1 main skill training: "Confucius learned to play the drum piano in the teacher's pocket and told Wang that he knew the Ming Dynasty. "Yan Ji Ling son know Yin summer wind, known far and near. Ancient Shi was born at the age of chitose, and he could not speak, and he was at peace with the people. " Huainanzi? 6? 1 Tai Xun "At the beginning of Shennong, Qin was made to return to God and violate his heavenly heart. It is declining, flowing instead of reversing, lascivious and lascivious, and as for national subjugation. " Historical records? 6? 1 Tian finished his family. Those who govern the country and comfort the people are nothing more than five-tone people. ""new theory? 6? "1 Qindao" will always be decisive, enough to understand everything and test chaos. Zhu's History of Qin said that a gentleman to Qin is not only to listen to his voice, but to examine his politics, while poverty is to protect his life. Fan Zhongyan's "Listening to the Master Piano Music" "You must rule the four seas first." "Cheng Tan? 6? 1 episode "The ancient emperors' inscriptions are so upright, self-cultivation, keeping the family in order, governing the country and leveling the world. The correct pronunciation of salty and lazy is endowment." "Qin Xue Zheng Sheng? 6? 1 Essentials of fingering ""The instrument of the piano is the eternal joy and the respect of elegance. It is the rise and fall of politics and religion, which is related to the evil and righteousness of the people. " The above remarks all think that the main function of guqin is enlightenment and self-cultivation Because of the emphasis on guqin's thought of ritual and music and the use of self-cultivation, Confucianism pays special attention to the study of the relationship between music and its external relations in guqin's aesthetic thought, ignoring the exploration of its own artistic laws, which will inevitably lead to the result of emphasizing morality over art and Taoism over lust. As an ideology, music is bound to be influenced by political thoughts and moral concepts, so it is bound to be inextricably linked with politics, etiquette and society. It is understandable to emphasize the relationship between them. However, if this relationship is regarded as the basis of music creation and music is regarded as a practical means, while its artistic aesthetic value is ignored, music will be alienated and become a tool to achieve utilitarian purposes. Confucianism put forward the proposition of "forbidden piano player" precisely to highlight the non-artistic function of guqin and draw many forbidden areas in the aesthetic and style of music.
Confucianism takes "no playing the piano" as its purpose, and especially emphasizes "harmony" and "neutralization" in music aesthetics. The word "He" first appeared in Zuo Zhuan? 6? 1 Zhao gongyuan: "alto falls, five falls are not allowed to play. So there was annoying masturbation. When you listen to your heart, you will forget to be calm, and a gentleman will listen. " This paper puts forward three aesthetic categories: alto, obscenity and harmony. In addition, "alto" and "lascivious voice" are the earliest recorded aesthetic categories of guqin (later, the word "alto" was also used in Putonghua? 6? Zhou Yu, which appeared in 1, is the so-called "ancient gods measure the sound in the examination", and its "middle tone" refers to the harmonious sound that the human ear can hear, while "middle tone" refers to the music with moderate pitch and speed, and it is specifically stipulated that the five-tone "cannot exceed the imperial palace and cannot be feathered" should be abandoned. And "lascivious voice" refers to the unrestrained music that goes beyond the range of "alto" and excessively pursues the change of sound and speed. In Zuo Zhuan, there is a distinct idea of rejecting obscenity and taking alto as beauty, and the resulting harmony is also an important aesthetic standard in music aesthetics. Any music that can keep people calm is "alto", otherwise it is "alto".
The category of "Zhongsheng" was later developed into "Zhonghe" by Xunzi, and was regarded as the most important aesthetic standard of guqin together with "Pinghe". In the Tang Dynasty, Bai Juyi praised the music of "playing slowly" and "tuning straight and slowly", which was the embodiment of "harmony" and "neutralization" in the Song Dynasty. Fan Zhongyan took "quietness and harmony" as the "way of neutralization" and refused to "skillfully refer to bel canto and skillfully combine it" (Tang Dynasty and Chu Shi combined books). Ouyang Xiu said, "If you want to calm your mind to support your illness, you must get it from the piano", and he also advocated the aesthetic view of "harmony" and "neutralization". When talking about the creation of guqin, Chen Minzi said: "Guqin is a song in ancient times, which is related to its weather. If it is good, it is nothing like neutralization (On the Rhythm of Qin Dynasty). Xu Shangying, on the other hand, thinks that guqin performance is "harmony is the most important", "harmony is the most important of all chords" and "harmony is also the most important of those who are not important" (in the case of Xishan Qin). When summing up the musical styles of North and South, Chen Qing emphasized that no matter what style of music, it should reach the standard of "neutralization". "After a few words to the south, will add a bundle, start over. If you pinch it five times, pinch it five times and stab it five times, all sounds will be turned off. In addition, in order to reach the unfinished meaning, the feelings are lingering and endless, and there are many leisure Yin Yuan. The Northern Song Dynasty's generous elegy, with intense sound and one go, has no intention of ending, and there are many angry sighs. It's the North-South tune, and each expresses his own opinions, so that the salty return is peaceful and free from rude ridicule "("Linhezhai Piano Score "). Susan Wang also said that "harmony is the most important thing in piano playing" (Zhai Qin Training Essentials). There is no doubt that "neutralization" and "harmony" have always been important aesthetic principles that run through the aesthetic thought of Confucian guqin. Since we hold the aesthetic standards of "harmony" and "neutralization", Confucian aesthetic thought will inevitably exclude Zheng Sheng and sadness and joy. As a representative of folk music, Zheng Sheng has always been regarded as "annoying masturbation" by rulers and literati, which runs counter to "neutralization" and "peace". However, sadness and joy are beautiful, and injustice is also beautiful, which does not conform to the proposition that "the musicians are also happy" and the standard of "harmony", so it will be banned by Confucianism. Although a large number of Zheng Sheng and elegy appeared in the practice of guqin, and the fashion and trend of taking sadness as beauty appeared in the Han and Wei Dynasties, Zheng Sheng and elegy have always been rejected by Confucian guqin aesthetics. Ruan Ji openly opposed taking sorrow as joy, and cited the examples of national subjugation such as Xia Jie and Yinzhou to prove the harm of extreme joy and sorrow, saying, "How can there be joy in the world if you take sorrow as joy?" ? There is no happiness in the world, it is difficult to reconcile yin and yang, and it is difficult to avoid disaster. Musicians make people calm and depressed, and heaven and earth and distant things gather, so they are called music. Today, I was moved to tears, booing hurt my spirit, I felt uncomfortable in cold and heat, and my usual things were not satisfactory. Although I am out of silk and bamboo, I should call it sorrow, not sigh, but joy "("On Music "), and put forward the theory of sadness and music in the field of guqin. Chen? "Le Shu" also said that "gentlemen who play the piano today often enjoy the royal happiness. Gai is so happy and comfortable, not for trouble and anger. " Many scholars and Confucian scholars also made no secret of their contempt for Zheng Sheng, so Bai Juyi advocated "destroying the voice of Zheng Wei and resuming the voice of the beginning". Zhao Xikuang believes that "the voice of political prestige is the only thing in the world, and it often flows into it, making the younger generation forget their roots one by one, and the interests of the ancients are far away" ("The Complete Works of Qin Shu"), and Su Shi also said, "Go home and find all kinds of water to meet, and be clean. "Confucianism's negation of harmony, sadness and joy is not only reflected in theory, but also in the practice of Qin people. Based on this, some musicians refused to play some piano music. Zhuang Qing's Zhenfeng once said in "Harmonious Music of Qin Xue's Mind": "Playing the piano is to get rid of worries and enjoy music, in which the title of the song is unlucky, the words of mourning turn into melancholy, and all outdated words are screened out. "
"Offenders are forbidden" is the mainstream thought of Guqin aesthetics. After Baihutong, most Qin people and Qin theorists said that Qin must be "forbidden". Therefore, the scope of the guqin ban has been constantly evolving and expanding, from prohibiting uneven "annoying masturbation" to prohibiting the sound of the piano, from prohibiting? There are many taboos in the occasion of guqin performance, the identity of the performer and the programs before and after the performance. For example, Jiang Keqian's Complete Works of Piano Books stipulates that "there is no wind, no rain, no city, no Shu Ren, no sitting, no clothes, no playing", and Yang's Complete Works of Piano Music also has it. "Prohibition" has become a fetter that restricts the development of Guqin art, and the admiration for "prohibition by the violinist" makes Guqin aesthetics regard Guqin as a tool to cultivate one's morality, forbid one's heart and extinguish one's desire, and think that the love and pursuit of beauty not only confuses people, but also leads to moral decay and national subjugation. In this way, most of the Qin theories in the past dynasties rejected all beautiful voices, such as "charming voice" and "sweet voice", which formed a non-beautiful tendency in Guqin aesthetics, thus ignoring the artistry of Guqin and the needs of people, restricting the free development of Guqin music, thus making Guqin gradually away from ordinary people. Guqin changed from a well-known folk musical instrument in the Warring States Period to a rare musical instrument in the Ming and Qing Dynasties, in which "ban" played a great role.
dao jia xue pai
Taoist thought has a far-reaching influence on Guqin's aesthetic thought. Laozi advocates the beauty of nature, rejects man-made music, advocates "insipid" music style, and advocates "big voice and great hope" that embodies the spirit of Tao and is natural and inaction. Zhuangzi inherited Laozi's view of nature, advocated that "law is more important than truth", and mercilessly criticized the Confucian thought of rites and music that bound human nature and violated nature (see Pianmu and horseshoe, etc.). However, Zhuangzi did not completely deny the joy of sound, but put forward the proposition that "pure reality is contrary to emotion, and music is also interesting", demanding that music express people's natural feelings and should not be limited to artificial manners. Based on this, "Zhuangzi? 6? "1" Father evil, mother evil "contained in the master? The elegy of "Feeling between Heaven and Man" not only affirms feelings, but also affirms the sadness and joy in Guqin aesthetics. "Zhuangzi? 6? 1 The proposition that "Guqin is enough for self-entertainment" put forward by King Jean emphasizes the entertainment function and aesthetic function of Guqin music.
The above thoughts of Laozi and Zhuangzi permeate all aspects of Guqin aesthetic thought. Ruan Ji, Ji Kang, Bai Juyi, Zhou Dunyi and Xu Shangying absorbed and developed the idea of "insipid" in Laozi. The worship of "plain harmony" in music aesthetics has been formed, which has limited the diversity of guqin's music style and had a great negative impact on its development. Tao Yuanming, Bai Juyi, Xue and others inherited the idea of "Loudness and Music" in Laozi, making advocating "Music" the goal pursued by many Qin people. Zhuangzi's thought of "getting carried away" has been inherited by many musicians such as Tao Yuanming, making the pursuit of implication an important feature of Guqin music aesthetics. Lao Zi and Zhuang Zi's admiration for the beauty of nature was inherited by Ji Kang, Tao Yuanming, Li Zhi and others, which made Guqin's aesthetic thought attach importance to the connection between man and nature and pursue the unity of man and nature. Ji Kang and Li Zhi further developed Zhuangzi's thought that freedom is beauty and music can express feelings freely. They argued that music should be an art for people to express their feelings, not a tool for feudal rule. In addition, Lao He and Zhuang Mingzhe's thought of keeping in good health and seclusion also had a certain influence on Guqin's aesthetic thought. Laozi's views of "insipid" and "great music" have been well received by Qin people, which has a great influence on the aesthetics of Guqin music. "Light" comes from "Lao Zi? 6? Chapter 1 Chapter 35 "Words of the Tao are insipid". Literature shows that the category of "lightness" put forward by Laozi did not cause great repercussions before the Han Dynasty. After Wei and Jin Dynasties, Confucian classics were damaged, metaphysics prevailed, and "light" aesthetics was emphasized. Therefore, Ruan Ji said that "morality is dull, so the five tones are tasteless", advocating quiet music and rejecting bel canto and funeral music. In the Tang Dynasty, "light" began to be used to describe Qin Le's style. Qin's poems, such as "clear spirit, quiet and obedient to people's hearts", "the melody is light and quiet", "the ancient sound is tasteless, which is not called today's human feelings", "the peace of mind is dull, and there is no ancient and modern sound", are all expressed in the Tang Dynasty. On the basis of Confucianism, Song and Zhou Dunyi absorbed and integrated Laozi's thoughts and put forward the theory of "light harmony", making "light harmony" a musical aesthetic advocated by Confucianism and Taoism. The aesthetic view of "light harmony" accords with both the Taoist thought of light harmony and the Confucian thought of neutralization, so it is accepted by many piano players. In Song Dynasty, Zhen highly praised the style of guqin in Preface to Xiao Changfu, thinking that guqin was "rare" and "rare". Yan Mingchi also said: "Only the guqin can separate the palace merchants, and the jade and silk can communicate morality and meaning. If you want to make it even, you can release it rashly" (Biography of Qinchuan). Xu Shangying, on the other hand, thinks that "the vowel of the piano is light" and "the light sound of the piano is beneficial to the taste", and says that "light" means "making the listener wander around and entertain himself, and don't know where to go" (the land of Xishan piano). Wang Qing? He even developed "light harmony" to the extreme, thinking that "the joy of the former king is only light harmony." Light, so I want to be calm; Harmony makes you impatient "(Zhai Qinpu), which regards" lightness "as an important aesthetic standard higher than" harmony ". He defined the standard of "lightness" as "moderation, order-keeping, non-rhyming, non-complicated sound and non-pleasing to the ear", based on Confucianism, Buddhism and Taoism: "moderation and order-keeping" is the "tenor" advocated by Confucianism; "No rhyme and no noise" is obviously consistent with the Confucian idea of prohibiting "annoying masturbation"; Nothing is pleasant to the ear "is the joy of advocating" three sighs "and refusing? The thought of "the voice of the heart, the voice of the ear" completely negates the artistry of guqin music. Compared with "neutralization" and "peace", "light harmony" emphasizes that music should stifle people's desires, release people's impatience, and exclude the artistry and emotional expression of music, so it has a greater negative effect on the free development of guqin. The combination of "insipid" thought and Confucianism in Laozi forms a "light and harmonious" aesthetic view, which is not only the result of Confucianism, but also the limitation of Taoism itself. The purpose of Laozi is to deny the joy of sound by doing nothing, and to deny the joy of sound by "loud voice and music", so it will eventually develop from "insipid and tasteless" to "insipid and harmonious", which will have a negative impact on music aesthetics.
Lao Zi and Sheng fully affirmed the eternal beauty of silent music by referring to the music of sound, and were later included in the guqin theory by Zhuangzi, saying, "Gains and losses make Zhao Zhi guqin also; Nothing is lost, so Zhao doesn't beat drums "("The Theory of Everything "). This idea is highly praised by scholars and has a great influence on the traditional Guqin aesthetic thought. Qin people in all previous dynasties regarded "Xi Sheng" as the best place to play, in order to pursue the implicit beauty of Qin Le. Xu Shangying gave a detailed description of Xi Sheng from the perspective of performance aesthetics, and gave a brand-new interpretation to the thought of Lao Zi. For example, in the case of Jing, he said that "the so-called look is extremely quiet, close to ethereal, and wandering souls are above the emperor", and in the case of Late, he added ". If it is too old, you can swim on the string, save its climate, wait for it and learn from it, which is the beginning of this hope; Or chapters and sentences are relaxed, or urgent, or intermittent, or distant, because waiting for the opportunity, adjusting the ancient sound, gradually entering the source, and the mind is endless, this hope is also extended; Re-exploring its evening fun, if the mountains are quiet and autumn, the moon is high and the forest is high, the wind is far away, the stone is cold, and I don't know what to eat during the day, but I don't know it at night. This hope is also in the environment. It is worth noting that Xu Shangying's explanation of "Xi sound" here is based on the musicality of sound, which is different from the original intention of Lao Zi and Zhuang Zi. Xu's words represent most views of Qin theory. In the classical Qin theory, the word "Wang" is mostly sparse, that is, the music of "playing slowly, ten Yu Sheng in the middle of the night" (Bai Juyi's Night Qin) and "being sparse but not loud" (Bai Juyi's Banjo), while the positive influence of "being loud and happy" in Laozi on guqin aesthetics is reflected in people's "being light and bright". Chen Youci, Zhu and others all have similar piano theories.
Zhuangzi put forward that "the speaker thinks too much and forgets his words" (external things), and also put forward "mind-breaking"-"Listen attentively but don't listen, listen attentively but don't listen" (on earth), and put forward "sit and forget"-"You are stupid if you break your limb. This has also had a far-reaching impact on the aesthetics of guqin, so Tao Yuanming put forward that "knowing that the piano is interesting, why bother to sing on the strings", thinking that the true meaning of music lies not in the sound itself, but outside the sound, and playing the piano is to obtain interesting meaning outside the strings. Since then, Qin theory has also attached importance to the relationship between sound and meaning, with the ultimate goal of forgetting everything, returning to nature and integrating man with nature, which embodies the pursuit of overtones from many angles and levels such as creation, performance and appreciation. For example, the music creation of "Zhuang Zhou Meng Die" and "Sit Forgotten" shows this pursuit of selflessness and turns it into a piece of jade? On Qin, Ouyang Xiu, Su Shi and Zhuang Zhenfeng. It shows that Qin people especially pursue implicit expression and aesthetic experience beyond implication in performance and appreciation. They think that when playing, meaning is more important than sound, and when appreciating, the heart is more important than the ear, and the mind is fixed and the body is forgotten. Liu Ji said: "When a thing sounds, it is imagined as a song. The mountains and rivers are hidden, the moon is in the strings, and the wind is blowing. ",penetration refers to the breeze" ("Qin Yi"); Xu Shangying said, "Reflected in the mountains, but reflected in the shadows; Melt with the water phase, but the ocean is like a dream; The summer heat can also be changed, and the virtual hall is suspicious of snow; Cold can return, grass pavilion flows in spring "("Xishan Qin situation "); Zhu Feng said: "I am proficient in mystery. I want to stop, but I don't want to be alone. Forgetting the string and fingers, the sound is ethereal, and it is tantamount to a fairy "(music is supplemented with the ancient Zhai). What they described is such a perfect situation, so Yan Yuan simply listed "forgetting the heart, hand and string" as one of the important criteria for playing the piano. Buddhism
Buddhism was introduced into China from Han Dynasty, and its teachings were quickly accepted by the people and respected by scholars. Its Buddhism and China culture absorbed each other and developed rapidly. The appearance of Zen Buddhism, in particular, had a great influence on the life pursuit, literary creation and aesthetic taste of traditional literati, and finally made Buddhism keep pace with Confucianism and Taoism. Buddhist culture has played an important role in the development of China music. As one of the five categories of traditional folk music, rap music is marked by the appearance of variant forms, which is an art form produced with the popularization of Buddhist teachings in the Tang Dynasty. Later, in the case of "many famous monks in the world", Buddhist music was active in various mountain temples and developed systematically.
Buddhist music has made an important contribution to the development of China national music, and many well-known Qin monks have appeared in the field of guqin, especially after the Sui and Tang Dynasties, the number of Qin monks increased, and the Song Dynasty also saw the emergence of the Monk Qin School. Their performances are reflected in various documents. For example, Li Bai's famous piano music "Listening to the King Playing the Piano" is one of the representative works: "Shu Monk Tiqing Silk Pipa Box, Going West to Mount Emei". When I hear the sound of Matsutani, I wave my hand at will. I heard him in the clear stream, I heard him in the cold bell. I don't think there has been any change, although the mountains have darkened and cloudy autumn has piled up the sky. In addition, the poems of Bai Juyi, Meng Jiao, Han Yu, Ouyang Xiu, Su Shi and other literati all contain the contents of the Qin monks, and some Qin poems created by monks have been handed down to the world. The deeds of famous musicians in Song Dynasty, such as Yi Zhong, Bai Zhi, Yi Hai and Zequan monk, are also recorded in the literature. The whole monk also wrote a book "The Rhythm of Monks in Zequan". It can be seen that in real life, the artistic activities of Qin monks are very frequent, and their playing skills are also very superb. Ouyang Xiu once wrote a poem praising white quality, "I'm afraid the mountains are high and the water is long, which has profound implications. I have written this for Zhu Sixian for a long time." Shen Kuo also praised the performance of Yihai in Meng Qian Bi Tan, saying that "the art of the sea lies not in sound, but in the desolation of meaning, which is beyond the reach of sound and beyond the reach of all people".
In sharp contrast with the musical practice of Qin monks, Buddhist thought is extremely absent in Qin theory, and the phenomenon of Confucianism, Buddhism and Taoism in China culture is inclined in the field of Guqin aesthetics. Compared with the position of Confucianism and Taoism in Guqin music, Buddhism has little influence. The content of Buddhist thought is rarely reflected in the vast Qin texts, and so is the creation of Qin music. Among the numerous music scores, only a few songs are related to Buddhist songs, such as Interpretation of Chapters, Puan Mantra, Color and Empty Tactics, Fa Qu Xian Yin, Luo Na Fa Qu and so on. In the Ming and Qing Dynasties, Buddhism was strongly rejected in the Qin theory, and even monks were forbidden to play the piano (for example, Yang Ming and Zheng Biao's "Rebuilding the Biographical Piano Score 6? There are three reasons for excluding monks from playing the piano in 1 Music without False Biography: First, guqin is the representative of Chinese elegant music, while Buddhist music is not as good as Zheng's voice, so these music cannot be used; Secondly, guqin must teach gentle people. Monks are from barbarian countries and should not be taught. Third, when playing guqin, the pianist is required to wash his hands and burn incense in advance, so that he can clean his face by taking off his coat, while the monk's hair is incomplete and elegant utensils are dirty, so it is not suitable for him to play the piano. The fundamental reason for these views lies in the one-sided understanding of Huayi Music. Traditional music aesthetics has always regarded the Voice of China as positive music and opposed the invasion of Okoyi music. Even in the Tang Dynasty, when "chickens crow in Chengtou Mountain and every family in Luoyang learns to be a tiger", Bai Juyi still said that "French music and French music are foreign songs, and foreign sounds are chaotic and harmonious. ..... I hope my teeth are wide and bright, so that I don't make the Yi and Xia invade each other "(Faqu Ge). The words in Su Shi's Answer to Fan Duan's Understanding in Song Dynasty can be regarded as the representative of traditional aesthetic thoughts rejecting Okoyi's pleasure. The article writes: "After the Qin and Han Dynasties, Zheng Wei did what he did. Although he liked the work of three harmonies, he rebelled against the chaos of the five lakes. After that, he gained rough elegance, and in the middle of Tianbao, he mixed with Hu. I have been mourning for a long time, who can get up? " Although with the increase of Buddhist temples and the popularization of Buddhist teachings, Buddhist music has made many achievements among the people, but the prejudice of literati is still deeply rooted. As a representative of literati music, Guqin aesthetics is deeply influenced by literati's contempt for Okoyi's music thought, which limits the development of Buddhist music in Guqin to some extent. Although there are musical scores handed down from generation to generation in the history of Qin, Buddhist music has never occupied a corresponding position in the piano world.
However, Buddhist thought is not without influence on Guqin aesthetics. On the whole, the Buddhist thought that has an influence on Guqin's aesthetic thought is the epiphany theory of Zen. The first person to associate Zen with Qin Xue was the Song Dynasty poet Cheng Yu? He said in "On the Qin" that "tapping the Qin is like meditation. After years of tempering, it is clear at a glance, and it is handy to use it. As for what can't be achieved, although you try hard to find it, there is no beauty in the end. You think that the way of thinking of meditation is the same as that of learning the piano. You must have an epiphany, that is, an epiphany, in order to surpass yourself, surpass the world and achieve the ultimate goal. This thought was brought to the extreme by Amin Li Zhi, who believed that "the way of sound can lead to Zen" ("Burning Books? " 6? Through the journey of 1 and the story of * * *), and taking Boya Xiangchenglian as an example, this paper illustrates the importance of the epiphany of "knowing the canal immediately" and "striking bamboo to write poetry" to music. Without this epiphany, it is difficult to achieve a wonderful scene, although he is a famous teacher and a unique talent of Boya. This kind of epiphany is a kind of since the enlightenment, who "gets it by accident and can't learn from others", so "Gai Cheng Lian has a series of voices, although he can't teach his disciples again and again; Boya has the voice of Boya, although Boya can't win. "This kind of epiphany can only be accomplished in a specific nature and in a lonely state of meditation." If Boya is not in the sea, if he is in the sea, even Mr. Lian will still be with him, and he will never get it. "As for the coast of the sea, the open fields, no one saw, the map of the future is gone, that is to say, there is nothing to teach, and the master has nothing to see. What I used to get can't be found back today, so I am also complacent. " Boya gained enlightenment and understanding in the vast nature, which made his spirit suddenly sublimate in an instant, transcended the boundary between things and me, realized the integration of the Tao of mind and the Tao of nature, and reached the highest realm of musical aesthetics. This psychological process is the same as Zen meditation in seeking Tao and realizing the detachment of everything. Li Zhi believes that the way to learn the piano and the way to participate in Zen are also interlinked, because "the Tao is covered by the surface, which is called super-teaching", that is, Zen pursues the nameless boundlessness in real life, transcends everything to seek eternal and nihilistic Buddha nature in the invisible universe, and achieves spiritual liberation. Through the music of sound, music also seeks the wonderful spirit of life that transcends matter and realizes the integration of mind and nature. Li Zhi and others applied Zen consciousness and thinking mode to music aesthetics, emphasizing self-experience and understanding, and realized the ignorance of learning the piano and the pursuit of life in music, which had a certain influence on guqin aesthetics. Later, "Qin learning is not difficult", "Qin Li Chan" and "Qin Shuo" in Gu Pu are all "Qin Shuo".
Xu Shangying, the author of Qin Shan Qin Shi, lived in a monk's house in his later years, so his Buddhist thoughts had a great influence on him. For example, Buddhism puts forward "knowing each other's nature, forming a Zen way" (Huineng's Tanjing), and Xu Shangying says "cultivate their purity and chastity, and understand each other's nature through the piano". When practicing meditation, Buddhism pays attention to pranayama and meditation, and takes this as the premise of enlightenment. Xu Shangying put forward "pranayama" in guqin performance, saying: "We refer to Kung Fu, one is pranayama, and the other is practicing finger. Adjust your mind and practice the designated voice. " Buddhism advocates that believers should transcend secular life and seek spiritual liberation in Buddhist countries. Xu Shangying asked performers to "get rid of the hubbub", "be independent from the world" and "dispel impatience and release the spirit of competition". Buddhism advocates abstinence and denies music enjoyment. Xu Shangying said, "Those who listen ... don't know where to entertain." In the "clean" situation, Xu Shangying takes Buddhism as the piano:
Bei Jingyun said, "Without beautiful fingers, you can't make beautiful sounds." And Poxian also said, "If the sound is on your fingers, why not listen to it on your fingers." Wei refers to it, but Wei does not. If you don't leave, you must say something wonderful and keep your word. The way to fix the finger, because of its strictness, lags behind Xuanwei This means that Yan Jing just can't leave evil spirits, can't leave a mess in the room, can't have silence, can't have washing, can't have bullets, can't have grinding, only emptiness is the body and quality is the use. Qin scholars were afraid of not taking too many notes at first, but later they gradually melted and were afraid of taking too many notes. From there to nothing, because there are too many, it is spotless, and there is one thing left, ending in the cleanest place. This is strict and clean. It means that the cleaner you are, the more you want to take away the sound. The better the sound, the more interesting it will be. So I said: people who want to cultivate a beautiful voice are based on guidance. If you want to trim your fingers, you must clean them first.
He first quoted the words in the Shurangama Sutra, such as harp, harp and pipa. Although there are wonderful sounds, there are no wonderful fingers, and he quoted Su Shi's title Shen to illustrate the importance of "wonderful fingers" in playing. Later, he integrated the Buddhist practice method of purifying the mind and understanding the Tao into the piano player's finger-repairing method, and asked the player to recognize the relationship between the wonderful sound and the wonderful finger in the above thought, and pointed out that the finger movement is very important to the sound quality, and the player can only make a beautiful sound by finger-repairing. Here, Xu Shangying runs through the Buddhist concept of purity in finger training, emphasizing the beginning of purity of mind, and putting forward the aesthetic view that "the more pleasant the sound, the more interesting it is" by referring to purity of sound.
As mentioned earlier, the "Xi" in Xi Shan Qin Kuang is different from the "Xi" in Lao Zi, the latter refers to silence, while the former refers to sound. The latter is intended to deny vocal music, while the former is intended to affirm the "light" style in vocal music. The characteristic of "Xi" here is still sparse, because Xu Shangying thinks that "the vowel of the piano is light", and only light sound can get rid of the times and customs and realize elegance. "Dan" was put forward by Laozi and absorbed by Zhou Dunyi, which became an aesthetics of Confucianism and Taoism. Here, it was melted into Buddhism by Xu Shangying and developed into an aesthetics of Confucianism, Buddhism and Taoism. Although Confucianism, Buddhism and Taoism have different views on the function and purpose of music from their respective theories, the overall aesthetic characteristics are basically the same, that is, they all take "harmony" and "light harmony" as aesthetic standards, regard quaint, light and harmonious music as beauty, and reject music such as fashion, vulgarity, kitsch and verve.