本文選題：古代琴僧　切入點：文人化　出處：《中國藝術(shù)研究院》2007年博士論文　論文類型：學位論文

【摘要】： 在中國古琴文化的發(fā)展歷史上，琴僧是一個不容忽視的群體，，他們是琴樂和佛教兩種傳統(tǒng)文化的傳播者和繼承者，而這兩種文化都具有悠久的歷史和深厚的底蘊。因此對于琴僧的研究有利于更為全面地了解古琴文化的歷史和發(fā)展，進而對中國古典藝術(shù)和傳統(tǒng)文化的內(nèi)在關(guān)聯(lián)深入探究。論文以中國古代社會中的僧人古琴家為研究對象，通過對歷史資料的梳理和分析，考察琴僧連接古琴音樂和佛教文化的橋梁作用及重要的歷史貢獻。 論文由琴僧群體研究、琴僧代表及對琴學的繼承與發(fā)揚兩大部分組成。第一部分包括“琴僧的產(chǎn)生及其文化背景”、“古代琴僧歷史述略”、“排斥與融合：古琴文化中的思想沖撞”三章，對中國古代社會中出現(xiàn)的僧人彈琴現(xiàn)象，以及他們的古琴藝術(shù)活動進行歷時性的梳理，并根據(jù)史料，分析論證琴僧群體產(chǎn)生的深層規(guī)律。其中對明清琴論中的排佛現(xiàn)象，以及“三教合一”的歷史現(xiàn)象及其對古琴音樂的影響作較為細致的探討。論文第二部分包括“琴僧在演奏理論、斫琴法和琴歌創(chuàng)作方面的貢獻”、“《枯木禪琴譜》研究”兩章，選擇在琴學界做出重要貢獻的僧人代表則全和尚、僧居月、東皋禪師和空塵和尚作為切入點，具體深入地分析他們在古琴藝術(shù)的不同領(lǐng)域所作出的成績和在琴界的影響。在對《枯木禪琴譜》的研究中，從琴譜考證、作者考證、琴譜內(nèi)容、創(chuàng)作琴曲四個方面著手，分析并肯定釋空塵在古琴音樂的傳播和繼承方面所作出的貢獻。
[Abstract]:In the history of the development of ancient Chinese Qin culture, Qin monks are a group which can not be ignored. They are the disseminators and successors of the two traditional cultures of piano music and Buddhism. These two cultures both have a long history and a deep inside story. Therefore, the study of Qin monks is conducive to a more comprehensive understanding of the history and development of the ancient Qin culture. The paper takes the monk Guqin in the ancient Chinese society as the research object, through combing and analyzing the historical data, the paper makes a deep research on the internal relation between the Chinese classical art and the traditional culture. To investigate the bridge between ancient music and Buddhist culture and important historical contributions. The thesis is studied by the group of Qin monks. The first part includes three chapters: "the emergence and cultural background of Qin monks", "A brief account of the history of ancient monks", "exclusion and integration: ideological collision in ancient Qin culture". A diachronic combing of the phenomenon of monks playing the harp and their artistic activities in ancient Chinese society, and according to the historical data, the deep rules of the formation of the group of monks are analyzed and demonstrated. Among them, the phenomenon of eliminating Buddhas in the theory of the Ming and Qing dynasties is analyzed. And the historical phenomenon of "three religions in one" and its influence on the music of Guqin are discussed in detail. The second part of the thesis includes two chapters: "the theory of playing, the contribution of the monk to the making of the harp method and the composition of the piano song", and the study of the dead wood piano Zen. The representatives of monks who have made important contributions in the field of piano science are all monks, monks living in the month, Donggao Zen Master and Dust Monk as the entry point. They have made a thorough analysis of their achievements in different fields of ancient Qin art and their influence in the field of piano. In their research on the "dead wood Zen piano", they have started from four aspects: textual research on the music of the instrument, textual research of the author, content of the music of the instrument, and creation of the piano music. To analyze and confirm the contribution of the Dust in the dissemination and inheritance of Guqin music.
【學位授予單位】：中國藝術(shù)研究院
【學位級別】：博士
【學位授予年份】：2007
【分類號】：J632.31

【引證文獻】

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2 李松蘭;穿越時空的古琴藝術(shù)[D];上海音樂學院;2011年

3 吳樹波;中國傳統(tǒng)宗教的休閑智慧[D];浙江大學;2012年

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1 孫小迪;參禪操琴 修心明性[D];西安音樂學院;2011年

2 孔一昕;琴與唐代詩歌[D];河北師范大學;2011年

3 孫正夷;唐代琴文化初探[D];復(fù)旦大學;2010年

4 劉東興;高洛音樂會《普庵咒》曲牌研究[D];河北大學;2009年

5 王蓉;唐詩中的古琴藝術(shù)研究[D];湖南師范大學;2010年

6 黃慧;晚明江南琴壇研究[D];河北師范大學;2010年

本文編號：1643696