The Study of Ji-Kang's Qin-Fu -- and the Comparison with Seng-Wu-Ai-Le-Lun
Date Issued
2012
Date
2012
Author(s)
Tsai, Pei-Shu
Abstract
The purport of this essay is explicating the thought of Ji-Kang‘s Qin-Fu (the Poetical Essay on the Qin), with which the several topics in Sheng-Wu-Ai-Le-Lun (the Treatise on the Sound without Sorrow and Joy) are also elucidated.
In the first chapter, the annotations and nowadays researches are introduced. The annotations to Qin-Fu are mostly seen in the Wen-Xuan, including the annotations of the Six Officials and the scholars in the Qing dynasty, who made efforts to the exegetic work. As to the discourse on Qin-Fu, it is usually seen in the essays on Seng-Wu-Ai-Le-Lun, and the essays which focus on Qin-Fu are seldom. Unfortunately the thought of Qin-Fu can not be entirely elucidated by these researches due to some deficiencies.
In the second chapter, the purport of every paragraph will be detailed. With the explanation the differences between the Qin-Fu and other articles about instrument can also be seen.
In the third chapter, the structure of the thought in Qin-Fu will be built with the aid of Ji-Kang‘s preface. Firstly, the significance of music to players will be illuminated; secondly, we will discuss how listeners are able to understand players; thirdly, we will talk about the reason why music can present the ideal relationship between music, players, and listeners; and at last we will explicate the virtue of Qin, which perfectly fulfills the theories above.
In the forth chapter, the several topics in Seng-Wu-Ai-Le-Lun will be discussed through the thought of Qin-Fu. In the first section, we make a distinction between Sheng and Yue and use this distinction as the basis in this chapter. In the second section, we fuse the auditory and philosophical meanings of Harmony, explain the possible danger of pre-consciousness for listeners, discuss Ji-Kang‘s opinion on the music of Cheng, and elucidate the relationship between the subjective and the objective. And in the third section there will be a comparison between the thought of Ji-Kang and Eduard Hanslick.
In the conclusion, the main points of the former chapters will be emphasized. Moreover, we use an example to present the argument about Qin after Ji-Kang. And we also introduce a variety of ways to interprete the significance of music, making the characteristic of Ji-Kang‘s musical thought more clear.
In the appendix, the appropriate annotations will be chosen among the former researches or be explained with the evidence in other literature. Besides, to make the annotations compatible with the main ideas of Qin-Fu, the connection between the paragraphs will also be considered.
Subjects
Qin-Fu
Seng-Wu-Ai-Le-Lun
Ji-Kang
Qin
Eduard Hanslick
Type
thesis
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