本論文旨在析論古琴以「澹」為美的意涵。全文分別由琴詩、琴論與琴樂切入,首先探討琴論中「澹」之審美意識的產生背景,以見傳承自道家思想由生命的修養實踐所呈現默契道妙的境界,乃是古琴藝術以「澹」為美蘊育的溫床。其次,從唐宋的文人琴士本乎其生命的觀照,在琴詩所開顯的琴樂美學觀來看,唯有「澹」之審美意趣在琴詩中有較具體的點示。爾後至明清時期徐麒的《谿山琴況》、冷仙的〈琴聲十六法〉則提出「澹」況乃在不矜心著意於澹而澹自臻的妙諦;最後,筆者以琴曲《梅庵琴譜•極樂吟》為例,來探討以「澹」為美的琴樂特質,又如何具體地在琴曲彈奏中實踐。
The purpose of this thesis is to discuss the aesthetical significance ”Dan (澹) ” of Ku-Ch'in music. First of all, it describes the aesthetical significance ”Dan (澹) ” of Ku-Ch'in music originated from Taoism. Secondly, searching the poems of Tang Dynasty, it shows that ”Dan (澹) ” is the most remarkable description of Ku-Ch'in music. Thirdly, it discusses the significance of ”Dan”(澹) in the esthetical thoughts in His-Shan's Epithets on Ch'in Music by Hsu Hong . Fourthly, it analyzes ”Dan” (澹) in the musical samples of Mei'an qin pu's (梅庵琴譜) work ”Ji Le Yin”(極樂吟).