摘要
中国古典美学中的虚实境界说,主要来源于中国老庄哲学。作为道家最核心的思想———“道”,就包含着“虚实统一”的特性。老子的“大音希声”说含有音乐虚实相生的哲理,从不同方面对后世的音乐美学观产生了深刻的影响,特别是启发了人们对“声外之乐”———音乐意蕴的追求,以及重音乐意境而轻感官快适的审美观念。中国传统音乐“虚实相生”的审美特征体现在与西方音乐不同的形式、风格乃至表演等方面。
The ＂nihility and existence growing out of one another＂ theory of Chinese classical aesthetics mainly roots in the Chinese Taoist School. As the hardest core of Taoist School, Taoism includes the essentiality of ＂nihility and existence giving harmony to one another＂. Laozi＇ s viewpoint, ＂Music, perfected, having no melody＂, implies the philosophic theory of ＂nihility and existence growing out of one another＂, which engenders far - reaching influence upon the afterworld concept of musical esthetics, especially enlightens people on the seeking of the ＂music going beyond the sound＂ musical meaning, and also enlightens people＇ s point view of attaching importance to music artistic conception but looking down on joviality to sensory organ. In China, the traditional music aesthetic characteristics of ＂nihility and existence growing out of one another＂ is different from the Western music in form, style and even performance and so on.
出处
《贵州大学学报（艺术版）》
2006年第3期1-4,13,共5页
Journal of Guizhou University Art Edition
基金
贵州大学传统文化与贵州地域文化研究基地2006年结题项目
关键词
中国传统音乐
虚实相生
审美意趣
Chinese traditional music, nihility and existence growing out of one another, aesthetic interest
