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王夫之의 시가와 음악의 화해 미학
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Wang Fuzhi's Aesthetics of the Harmony between Poetry and Music

논문 기본 정보

자료유형
학술저널
저자정보
저널정보
중국어문연구회 중국어문논총 중국어문논총 제90호 KCI Accredited Journals
발행연도
2018.1
수록면
226 - 250 (25page)

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王夫之의 시가와 음악의 화해 미학
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Wang Fuzhi (王夫之)’s theory of harmony between poetry and music, is the emphasis on harmony between poetry, music and unification. This theory is significant in the history of ancient Chinese poetry. Chinese poetry was originally composed with music. After the Han dynasty, the Yue Fu approach lost its influence and poems had only lyrics and no musical melodies and tunes. Later poets tried to revive the beauty of music through the changes in rhythm, the rhymes of poetic alphabet, and the weight & heavy and clear voiceless & voiced sound of the consonant. This led to the emergence of the Sound Theory in the 永明 Period. However, although the Sound Theory in the 永明 Period contributed to the formation of Metric poetry, it flowed into formalism by overly devising prosody. As a result, the poetry’s life was neglected in the expression of emotion. Wang Fuzhi (王夫之)’s theory of sound and emotion is the opposite of the Sound Theory of the 永明 Period. In the Tang dynasty, various methods were found to overcome the Sound Theory of the 永明 Period to seek the beauty of music, a so-called combination and contrast. But from the point of view of the art in Wang Fuzhi (王夫之)’s theory of “Being mild in the ear and being glad in the heart”, this was nothing more than a death kneel. In the Song dynasty, in pursuit of learning reason and prose, poetry disregarded the poetry’s life; Revitalization, Emotions, Music etc. Wang Fuzhi (王夫之) criticized and denied this writing trend. The Restoration Party of the Ming dynasty advocated various kinds of poetic laws and rules to overcome the weakness of the Song dynasty, but it did not advocate the harmony of poetry and music. In the change of ancient poetry, Wang Fuzhi (王 夫之) raised the theory of harmony between poetry and music and emphasized the importance of theory of sound and emotion. It overcame the separation of poetry and music and emphasized the reconciliation of the two. This was meant to restore the poetry’s true artistic life and spirit. Wang Fuzhi (王夫之) believed that when poetry and music are combined into the art of harmony , they act to change the customs of society and to stabilize the world. This is the educational effect of poetry and the educational effect of music. Therefore, he stressed that all emotions and expressions in poetry and music should be consistent with neutralization. His emphasis on poetry and music included standards, mild and dilute. Music with such feelings and styles were ancient classic music or moral sound. He thought that with faithful emotion, standard music could put people who were not safe and right on the right track and could also allow people who were safe and right to embrace the golden mean and a peaceful state of mind. The opposite way of feeling and expression is excessive emotion and excessive sound, which results in expressing and producing excessive emotions without the control or restriction of reason. Excess, disorder, violence, and extremes are all out of the neutral state. All of these emotions and expressions confuse the audience’s psychological state, eliminating the pleasure of peace. Therefore, he emphasized emotion and expression with neutralization in poetry and music. Using the harmony of sound and emotion in the criticism of poetry and art, Wang (王夫之) made it an important concept of poetry and art criticism and has also given it modern values and significance. Modern aesthetics hermeneutics emphasizes the high degree of unification of the two in relation to the aesthetic effects of the art form and the meaning the writer intends to express. Wang Fuzhi (王夫之)’s theory of sound and emotion is the ancestor of modern hermeneutics. Recent Chinese classical poetry education puts emphasis on the teaching of sound and emotion. It is a method of teaching that makes sound and emotion remarkable through blending poetry, music, and dance into melody, enhancing the aesthetic effects by improving the emotion or meaning. The teaching of sound and emotion deviates from the method of memorizing and reading classic poetry, by using various expressions such as singing and dancing, and using ancient or modern instruments to convey lyrics in a sweet and enchanting manner, thus evoking a catharsis by resonating the heart of the listener. Classic poetry is currently being analyzed using the concept of harmony of sound and emotion and the concept of being remarkable in both sound and emotion in its poetry review. Wang Fuzhi (王夫之)’s theory of sound and emotion is a theoretical background of modern aesthetics hermeneutics, the teaching of sound and emotion, the criticism of modern poetry. His theory of harmony between poetry and music is the artistic spirit of harmony between aesthetics and education.

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