摘要
乾隆初期,乾隆与陈邦彦、梁诗正等七位翰林词臣对宫中旧藏及新斫古琴进行了多次题写活动.这批题写诗文作品体裁不一、数量众多且普遍运用比兴之法,体现出乾隆初期清秀典雅的古琴文学美学与艺术审美.在对古琴的多次题写中,乾隆不断确立古琴的卓越地位、并阐发古琴中和节止的儒家内涵,反映其一以贯之的雅正琴乐观.大规模的古琴题写活动表现出乾隆作为政治人物在诗教与乐教上的双重意图.
Abstract
In the early Qianlong period,Qianlong,along with seven Hanlin Ci officials including Chen Bangyan and Liang Shizheng,carried out multiple inscriptions on the old and newly carved gu qin in the palace.This batch of inscribed poetry and prose works had a variety of genres,a large number,and commonly uses the method of metaphor,reflecting the delicate,pretty,and elegant literary and artistic aesthetics of the gu qin in the early Qianlong period.In his multiple inscriptions on the gu qin,Emperor Qianlong continuously established its outstanding status and elucidated the Confucian connotation of harmony and restraint in the gu qin,reflecting his consistent ya zheng gu qin music view.The large-scale activity of inscribing on the gu qin demonstrated the dual intentions of Qianlong as a political figure in poetry and music education.
基金项目
福建省社会科学基金西部扶持项目(FJ2023X004)
国家社会科学基金重大项目(21&ZD254)
NETL
NSTL
维普
万方数据