1949-1966年間中國大陸古琴之發展──以北京古琴研究會的活動為例

Abstract

摘 要 20世紀初期，中國社會上興起藉西方文化與知識體系來重建、革新中國傳統之勢，民國時期各地琴社與琴家在強調西化的社會環境中，對古琴所進行的延續與實踐，是古琴在近代發展中的第一重轉折；而1949年中國共產黨建政後，官方以毛澤東於1942年延安文藝座談會發表之內容作為文藝政策施行的準則，強調文藝的群眾性，繼承中國傳統文藝並改造成能為社會主義與群眾服務的內容，古琴在此環境中適應政策而進行之活動，則為近代古琴發展之第二重轉折。 本旨在於研究中共建政後的前17年期間，古琴家們對於弘揚與發展古琴的目標下，接續民國時期以來琴學活動的經驗，以北京古琴研究會的活動內容來觀察，當時如何在政治環境的文藝方針下發展出古琴延續的道路，並藉此了解20世紀中琴學發展與活動的特徵性。 透過訪談以及對相關文本資料的分析，北京古琴研究會受到中央音樂學院民族音樂研究所與中國音樂家協會的協助，並在這些單位負責人如呂驥、楊蔭瀏、查阜西等支持下，得以展開對古琴的維護與推展；由政治環境的氛圍看來，大抵可以1958年為界，前期因文藝政策相對寬鬆，北京古琴研究會的活動性質尚可聚焦於繼承古琴傳統，後期受政治運動的影響較深，琴會的活動內容漸轉為古琴的改革創新，這些改革內容的特徵除了配合官方文藝活動所需，此外官方將古琴重新定位為「民間器樂音樂」一類，並建立起琴曲與民間音樂的連繫，別於傳統視古琴為「道器」的認知，當時對古琴意涵的重構亦由「道器」轉為樂器。

Abstract At the beginning of the 20th century there was a rise of utilization of western culture and knowledge to reconstruct and innovate within traditional music. In the period of Republic of China, musicians and musical associations all over the country have found themselves in a social environment which emphasized westernization. Their continuation and implementation of the Guqin is its first turning-point in contemporary development. After the Communist Party of China established the regime in 1949, the government enforced the policy of art and literature in accordance with Mao Ze-dong’s lecture in Yan-an Literature and Art Forum in 1942, valuing mass art and literature. It succeeded in using Chinese traditional art and literature to serve socialism and people. Then, the Guqin underwent activities for adaption to the policies, which then became the second turning-point in its development. This research focuses on 17 years before the PRC was established to discuss how the Guqin musicians continued the Guqin learning experience during the Republic Era with the goal of enhancing and developing the Guqin. Simultaneously, through observation of activities in the Beijing Guqin Research Association, it probes into how they built the road of continuance of the Guqin under the guidelines of art and literature, and therefore recognized the characteristics of the qin study and activities during mid 20th century. By means of interviewing and analyzing the relevant texts, this paper explores that the Beijing Guqin Research Association received assistance from the Ethnical Music of Central Conservatory of Music and Chinese Musicians Association. Furthermore, the Guqin culture was preserved and promoted with support from people in charge of the association, including Lu Ji, Yang Yinliu, and Zha Fuxi. Based on the inclinations of the political environment, 1958 was the boundary between two different periods. Due to the loose policy of art and literature, the Beijing Guqin Research Association could just concentrate on preserving the traditions of the Guqin. Owing to the more intense impact of political movements, the activities in the associations were gradually transformed to those to carry out reforms and innovation of the Guqin. In addition to coordination with the government’s activities of art and literature, the content of these reforms involved the re-orientation of the Guqin as one of the “folk musical instruments” that connected Guqin music with folk music. From then on, different from the tradition that regarded the way of the Guqin, the implication of the Guqin was re-constructed from as the way of the Guqin returning to a musical instrument.