Шляхи проникнення фортепіанного мистецтва у китайський культурний простір

Abstract

У статті досліджено ранні приклади проникнення у Китай зразків мистецтва європейських клавішних інструментів. Розглянуто приклади європейського клавірного репертуару, що спорадично з’являвся в Китаї у XVII–XIX ст.; діяльність західних та українських місіонерів; установки провідних ідеологів Китаю Тань Ситуна і Сунь Ятсена, що сприяли посиленню зацікавлення мистецькими колами Китаю європейським клавірним мистецтвом. Охарактеризовано значення ролі місіонерів та ідеологів Китаю, а також наслідків експансії іноземних колонізаторів у процесах впровадження в китайський культурний простір фортепіанного мистецтва і педагогіки.

В статье исследованы ранние примеры проникновения в Китай образцов искусства европейских клавишных инструментов. Рассмотрены примеры европейского клавирного репертуара, который спорадически появлялся в Китае в XVII – XIX вв.; деятельность западных и украинских миссионеров; установки ведущих идеологов Китая Тань Сытуна и Сунь Ятсена, которые содействовали усилению заинтересованности художественными кругами Китая европейским клавирным искусством. Охарактеризовано значение роли миссионеров и идеологов Китая, а также последствий экспансии иностранных колонизаторов в процессах внедрения в китайское культурное пространство фортепианного искусства и педагогики.

The first key instrument of European example appeared in China in the very end of XVII cent., when at the court of emperor Kansi (1654–1722 ) was already existed the music making on the clavichord. In the context of spreading some leaks investigation in China of clavier art arises the fact of serious interest by the emperor of eastern and western music and drawing by him to the court the most authoritative those days teachers-missioners, who by the Pope’s authorization were sent to China with spiritual mission. In China from the beginning of XVII cent. there were many Christian church missioners from the West: fleming Ferdinand Verbist, Italians Mario Ricci and Teodoriko Pedrini, portuguese Tomas Pereira, French Jean Francois Herbilion and Josef Amino, from America – Semuel Robins Broun, Jung John Allen and others. The first concert of Chinese musical history where the composition of European music was sounded, was the Ode to Horazio, which the choir of eunuchs under the Italian missioner – jesuit Mario Ricci guidance performed for the Kansi emperor. In the crossing conditions of very distant civilizations of East and West the religion became the core of intercultural contacts. The biggest influence on the art of Far East development made the Christian religion validation. Chinese and western music historians show the sources of penetration to China the European clavier instruments and separate clavier compositions of western European composers through the western missioners activity. Their activity became very important on the road of stable continuity achievement in the professional fortepiano education. Among first examples of compositions performed by western European composers in China – play of J. F. Ramo, “Un appels un oiseaux” and “Les Sauvages”, F. Кuperen “Butterfly”, “Znicky”, “Faithful” and dances from clavier suite by J. Shambonier “Saraband” and “Garbage”. An important role belongs to the missioner from Ukraine: Demian Mnogogrishnyі, archimandrites Ilarion Legayskyі and Antoniy Platkowskyі. The result of their being in China became the Christian doctrine development activization assistance, which caused the Chinese population interest to the eastern European music tradition: church singing learning, European system of notes writing. The Worship in Christian churches was in the same way as it was in catholic – in accompaniment of clavier-winds small organ. The beginning of the serious changes period became the period of XIX cent. As a result of English, German, French influence on China the national liberation movement took place. The founders of its ideology became Tan Sytun and Sun Jatsen. While the strive of finishing with foreign colonizers power domination, they started the activity with democratization of the society and separately supported the spreading of European forms of cultural life. That has appeared in the sphere of education – the foreign teachers-musicians support in Chinese educational institutes of western form of fortepiano play teaching. The weak position of cultural infrastructure of Chinese state positively assisted fastening of the common development of artistic processes. As separated influence – rebel movement against the domination of Manchu dynasties, movement against expansion of foreign colonizers and in spite of this – start of the active open cooperation with West on the all levels supported gradual distribution of the cultural life forms. The period of the end of XIX-beginning of XX cent. became the beginning of the Chinese art approach to the European art and its separate achievement – fortepiano performing and composing art.