明代古琴譜論現存概要分析

明代由於在當時王公貴族的興趣引領之下，興起了刊印琴譜專集之風，而明中葉以前有「琴譜」與「琴論」分離之現象，嘉靖以後則逐漸譜、論合一，故成為中國古琴藝術理論發展及出版之集大成與百花齊放時期。目前筆者所知，保存明代古琴學之基本文獻最主要為：明成祖敕撰的《永樂琴書集成》四大冊（臺北：新文豐出版）；中國文化部文學藝術研究院音樂研究所和北京古琴研究會編的《琴曲集成‧第一輯》（北京：中華書局出版）所收明代琴譜約四十種；香港唐健垣編纂的《琴府》（臺北：聯貫出版）所收《古人琴說輯》內錄之八種明代琴人琴論等等。本文主要即針對其中琴譜、琴論之保存現況與內容概要作一初步的整理與分析。

關鍵字

古琴；古琴譜；古琴藝術；古琴美學；明代琴論

並列摘要

Under the influence of the nobility's interest, publishing anthologies of qin music had been prevalent during the Ming Dynasty. By the mid-Ming Dynasty, there had been the separate phenomenon of qin compositions and qin theories; It wasn't until after the Jia-Jing period that qin compositions and theories were gradually blended. Therefore, the Ming Dynasty became the culminating and blooming period during which Chinese art theories of qin music developed and published flourishingly. Known at present, the basic documents, preserving the study of qin music of the Ming Dynasy, are mainly as follows: Yongle Qinshu Jicheng ('Yongle Collection of Qin Books'), compiled in 4 volumes, made on the orders of Ming Chengzu (the Yongle Emperor), now published by Xin Wen Feng Publisher, Taipei. Qin Qu Ji Cheng ('Grand Anthology of Qin Music'), in which the first volume was compiled at least forty kinds of qin anthologies of the Ming Dynasty, co-edited by Music Research Institute of Academy of Literature & Arts of the Ministry of Culture and the Beijing Qin Research Association, published by Beijing: Zhonghua Book Company, China, and Gu Ren Qin Shuo Ji ('Anthology of the Ancients' Studies Related to Qin') in Qin Fu ('Anghology of qin music'), edited by Hong Kong qin player Tong Kin-Woon (Mandarin: Tang Jianyuan), was published by Lian Guan Publisher, Taipei. In Gu Ren Qin Shuo JI, he compiled studies in qin players and qin theories by eight qin masters of the Ming Dynasty. This essay aims at collating and analyzing the present preserving condition and general content of qin compositions and qin theories within the confines of the above conditions.