跨文化语境下的高罗佩《琴道》研究
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摘要
荷兰汉学家高罗佩在广泛研究中国古代琴学理论的基础上,融入自己的古琴演奏体验,写成了《琴道》一书。该书分析了古琴音乐的特点、琴道与儒道释的关系等问题。表面看高罗佩对中国琴道有深刻和全面的认识,但仔细体会就会发现,他较多关注的是古琴作为文人雅致娱乐方式的作用,一定程度上忽略了古琴感通天地神人的神秘作用,以及古琴协调社会秩序、古琴作为伦理道德载体的作用。形成高罗佩对中国琴道接受"偏见"的原因,其一与他的个人生活观念有关,其二是因为高罗佩以明代中国为背景、以明代文人为主体来理解中国古琴。明代文人远离政治、追求诗酒风流的精神与追求自由、不愿受外在约束的精神品质得到高罗佩的认可。因此,他内心深处对功利主义的琴学思想是排斥的,也不能更为深入地领会中国琴道中的天地精神。高罗佩对中国琴道的认识体现了跨文化语境中,异域文化接受的视域融合性质。
On the basis of extensive research on the theor y of the ancient Chinese zither, Dutch Sinologist Gao Luopei(Robert Hans van Gulik) integrated his own Gu Qin playing experience and wrote a book named Qin Dao. This book analyzes the features of the Gu Qin music and the relationship between qindao and Confucianism, Taoism and Buddhism. On the surface, Gao Luopei has a profound and comprehensive understanding of the Chinese Qindao, but when you carefully look at it you will find that he pays more attention to the role of the Gu Qin as a literar y and elegant entertainment method. To a certain extent he ignores the mysterious role of the Gu Qin to the heavens and the earth, and the role of the Gu Qin in coordinating social order, and the Gu Qin as an ethical carrier. The reason why Gao Luopei accepted the "prejudice" on Chinese Qindao was related to his personal life concept. The second reason was that Gao Luopei used the Ming Dynasty as the background and the Ming Dynasty literati as the main body to understand the Chinese Gu Qin. The spirit of the Ming Dynasty was to stay far from politics, pursuing poetr y and wine, the pursuit of freedom, and the unwillingness to be bound by external spirits were approved by Gao Luopei. Therefore, in his heart he rejected the utilitarian philosophy of the Gu Qin and he was not able to understand the spirit of heaven and earth in the Chinese Qindao.
On the basis of extensive research on the theor y of the ancient Chinese zither, Dutch Sinologist Gao Luopei(Robert Hans van Gulik) integrated his own Gu Qin playing experience and wrote a book named Qin Dao. This book analyzes the features of the Gu Qin music and the relationship between qindao and Confucianism, Taoism and Buddhism. On the surface, Gao Luopei has a profound and comprehensive understanding of the Chinese Qindao, but when you carefully look at it you will find that he pays more attention to the role of the Gu Qin as a literar y and elegant entertainment method. To a certain extent he ignores the mysterious role of the Gu Qin to the heavens and the earth, and the role of the Gu Qin in coordinating social order, and the Gu Qin as an ethical carrier. The reason why Gao Luopei accepted the "prejudice" on Chinese Qindao was related to his personal life concept. The second reason was that Gao Luopei used the Ming Dynasty as the background and the Ming Dynasty literati as the main body to understand the Chinese Gu Qin. The spirit of the Ming Dynasty was to stay far from politics, pursuing poetr y and wine, the pursuit of freedom, and the unwillingness to be bound by external spirits were approved by Gao Luopei. Therefore, in his heart he rejected the utilitarian philosophy of the Gu Qin and he was not able to understand the spirit of heaven and earth in the Chinese Qindao.
引文
[1]巴克曼,德弗里斯.大汉学家高罗佩传[M].海口:海南出版社,2011.
[2]周宁.走向“间性哲学”的跨文化研究[J].社会科学,2007(1).
[3](荷兰)高罗佩.琴道[M].上海:中西书局,2013.
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[5]何宁.淮南子集释[M].北京:中华书局,1998:1103-1105.
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[9]周振甫.周易译注[M].北京:中华书局,1991:256.
[10]高萍.高罗佩与中国古琴文化[J].中国文化研究,2010:夏之卷.
[11]张瀚:《松窗梦语》,上海:上海古籍出版社,1986:123.
[2]周宁.走向“间性哲学”的跨文化研究[J].社会科学,2007(1).
[3](荷兰)高罗佩.琴道[M].上海:中西书局,2013.
[4][清]孙星衍.尚书今古文注疏[M].北京:中华书局,1986:130.
[5]何宁.淮南子集释[M].北京:中华书局,1998:1103-1105.
[6]高亨.诗经今注[M].上海:上海古籍出版社,1980:320.
[7]杨伯峻.论语译注[M].北京:中华书局,1962:171.
[8]朱谦之.新辑本桓谭新论[M].北京:中华书局,2009:64.
[9]周振甫.周易译注[M].北京:中华书局,1991:256.
[10]高萍.高罗佩与中国古琴文化[J].中国文化研究,2010:夏之卷.
[11]张瀚:《松窗梦语》,上海:上海古籍出版社,1986:123.