摘要
明代宦官琴人是帝王有意培养的御用琴人,始见于宣德至正统年间,在天顺时期已初具规模,并日益群体化。宦官琴人的群体化是英宗皇帝雅好琴乐的结果,主要通过屡次命多名资质优异的宦官共同学琴而实现。因明代中后期的大多数帝王亦嗜琴,宦官奉命学琴遂成为培养御用琴人的传统,一直延续至明末。自宦官学琴伊始,便师承"浙操徐门",至嘉靖中叶,他们更以"徐门正传"自居,有着恪守师法、明辨门户的琴学观念,故可将宣德至嘉靖年间的宦官琴人视为浙派古琴的支系。万历以降,宦官琴人摒除门户之见,不再唯"浙操徐门"是尊,开始深入民间,积极寻师访友,且不拘一家之法,转益多师,其琴学观念向兼收并蓄、博采众长转变。
Eunuch Ch’in players during the Ming Dynasty,trained intentionally by emperors’orders,were a group of Ch’in players in ordinary to the emperors.They appeared in the period from Xuande to Zhengtong,and gradually expanded in scale during the period of Tianshun.The formation of this group was a result of Yingzong emperor’s interest in the Ch’in,whom ordered many eunuchs to learn the skill of playing Ch’in.Due to continued interest in Ch’in of emperors from the Middle Ming to the Late Ming period,instructing eunuchs to learn playing Ch’in became a tradition of cultivating imperial Ch’in players until the collapse of Ming Dynasty.These eunuchs were originally disciples of mentors from the Genre of Zhe,and in the middle age of Jiajing,they praised themselves as successors of the Genre of Zhe.In a sense,the eunuchs who could play Ch’in in the Middle Ming were certainly one unique branch of the Genre of Zhe.However,in the period of the Late Ming,eunuch Ch’in players didn’t strictly follow the mentoring from the Genre of Zhe and broke the boundary of mentorship.They pursued Ch’in masters from elsewhere and benefited from various genres,hence changed the ideology of Ch’in.
出处
《史林》
CSSCI
北大核心
2019年第6期88-98,217,共12页
Historical Review
基金
南京大学博士研究生创新创意研究计划资助项目“明代的古琴文化与文学”(CXCY18—07)阶段性成果
南京大学优秀博士研究生创新能力提升计划B资助
