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在印度莫卧儿时期,声音是一个高度理论化的学术领域,并处于和精英审美的对话之中。在北印度,不仅梵语和波斯语的音乐理论和美学著作层出不穷,而且伯勒杰语、乌尔都语、迈提利语、孟加拉语以及其他各类地方语言的相关著作也日益涌现。政治人物被认为应当熟悉音乐的品质、声音的情感魅力,并熟知优雅地品鉴音乐所要求的道德品质和社会礼仪。统治者们热衷于通过肖像画和编年史强调他们如何参与了精英艺术音乐。本文认为,声音实践对界定社会空间来说至关重要,地方政权的统治者正是运用了特定的声音实践来培育一种跨地域的空间感和权威。通过考察产生于18世纪孟加拉的各类与音乐相关的图像和文献,本文呈现了18世纪美学创作的试验性以及早期现代印度如何理解声音和音乐并将其用于政治和社会空间的界定。
In the Mughal period of India, sound was a highly theoretical academic field and was in a dialogue with the elite aesthetics. In North India, not only Sphinx and Persian music theory and aesthetics are endless, but also books related to the languages of Burleigh, Urdu, Metyli, Bengali and other languages are also emerging. Politicians are supposed to be familiar with the quality of music, the emotional appeal of sound, and the moral qualities and social etiquette demanded of elegantly tasting music. The rulers are keen on emphasizing how they participated in elite art music through portraits and chronicles. This paper argues that sound practice is crucial to defining social spaces and that the rulers of local regimes are using specific sound practices to foster a sense of space and authority across geographies. By examining the various musical-related images and documents that originated in Bangladesh in the 18th century, this article presents the experimental 18th-century aesthetics and the definition of how early modern India understood sound and music and used it in political and social spaces.