摘要
陶渊明本人是精通音乐,并通晓古琴艺术的。读书和弹琴是陶渊明日常生活中的赏心乐事。陶渊明的音乐艺术修养还表现在他对自然之声的敏感和兴趣。弹奏"无弦琴",是诗人的风流,这种风流本身也就是一个充满诗意的浪漫的艺术显现过程。陶渊明的"无弦琴"深寓着老子"有生于无"、"大音希声"和"有无相生"的哲学本体论理念,它显示的不仅是一种艺境——诗人的脱俗气质和音乐家的潇洒风流,更是一种道境——超越寰中、凌驾今古的终极性的哲理。
According to autobiographic excerpts from Tao Yuanming, this paper completely overturns the quondam depiction which asserted that Tao hadn ＇ t understood music. In addition,the text restores the story of ＂No-String Qin＂ to his life in music and literature, and illustrates it in a new perspective. The article argues that music art not only took up an important position in his daily life,but also exerted a significant impact on his literary composition. Due to his knowledge in music,Tao had keen insight in all kinds of wonderful natural sound,and returned to Lao tzu＇ s ontology. In fact, ＂ No-String Qin＂ encompassed ＂Existing arises from non- existing＂,＂The greatest note rarely sounds＂ and ＂ exists and not-exists mutually sprout＂ of Taoist ontology. Meanwhile, it had both charm of Artistic Spirit and contemplation of Philosophical Meditation which make us evocative.
出处
《北京大学学报（哲学社会科学版）》
CSSCI
北大核心
2010年第2期69-76,共8页
Journal of Peking University(Philosophy and Social Sciences)
