太和鼓鬯：《谿山琴況》的美學觀研究

Tai He Gu Chang :A research on aesthetics of Xi Shan Qin Kuang

林彥邦(Yen-Pang Lin)

指導教授 ： 蕭振邦

共同指導教授 ： 顏崑陽(Kun-Yang Yen)

淡江大學/文學院/中國文學系碩士班/碩士(2012年)

https://doi.org/10.6846/TKU.2012.00904

摘要

《谿山琴況》向來被視為古琴美學的集大成之作，然而《琴況》卻鮮少論及美，又前賢先進往往以非美感(aesthetic)性質去解釋美，造成了範疇錯置的謬誤。故我這本論文試圖藉此釐清琴學與美學之間的嵌結關係，並試圖揭露《琴況》之美學涵義，期許從中國美學的角度，重新尋索人在藝文活動中蘊涵的根源特質，並避免忽略傳統琴人重視的人存之道。
本文擬分六章，第壹章說明研究動機與目的和研究方法，而本文主要採取的理論參考系為「突現美學」和「美學意願」。
第貳章旨在說明二十四況之體系結構。共分三節，第一節說明傳統琴論之性質，旨在辨明《琴況》並非為「琴學理論」；第二節引介前賢先進關於《琴況》詮釋之系統的差異，分析各家詮釋系統之解釋效力及侷限，並提出《琴況》性情統「心–造化」與「德–神人」兩端的內在結構；第三節從目的論及功能論闡明《琴況》所揭示的琴學特質，即彈琴是為了「理一身之性情，以理天下人之性情」，而彈琴講求的是「宣揚和暢，疏越神情」的功能。
第參章說明《琴況》的基礎音樂觀。共分三節，第一節以「和比說」解釋，認為《琴況》在演奏之道示以「和比」造化之道，並進一步地以「中和」嵌結「演奏」與「性情」兩者；第二節說明情意感受及情感作用，並認為須依本來之「性情」，化去「俗情」，進而朗現「山水之實情」；第三節則說明琴人之氣感活動，《琴況》是透過「太和之氣」作為中介，來涵養「情性」以至「希聲」。
第肆章旨在說明《琴況》之「美」就是一種突現性，並闡釋其涵義。第一節揭露徐上瀛所處亂局，晚明在政治、經濟，甚至藝文活動都呈顯衰敗的氛圍；第二節指出《琴況》所追求的並非「美」，而是「黜俗歸雅，捨媚還淳」的優位價值；第三節論《琴況》所體現之境界為「太和鼓鬯」，而要達到「太和鼓鬯」的境界，就必須在人和琴技上取法於天。
第伍章說明徐上瀛所處時代及本身之價值訴求。第一節論青山的自我認同，認為青山作為一位遺民，不選擇殉國卻選擇山居，必是有一值得珍視的意義價值；第二節從《大還閣琴譜》的序跋中論其社會認同，指出青山與同道有共同追求「經世致用」、「復興古道」之志；第三節論晚明琴論的傳承與價值追尚，認為有一個龐大且共同的「美學意願」––琴道之追尚，在支撐著《琴況》的延續。
第陸章總結前文，認為《琴況》並未對應特定的美之突現，而是《琴況》凸顯出了「絀俗而歸雅，捨媚而還淳」的優位價值祈嚮，以改善晚明亂世的情況。進而在晚明亂世中，以彈琴之境界體現其追尚的優位價值，則可人之生命境界即呈現「太和鼓鬯」，並期許「有道之士」能續此琴道。最後，說明本研究的限制與發展。

關鍵字

古琴 ； 琴況 ； 突現美學 ； 美學意願 ； 中介嵌結法

並列摘要

Xi Shan Qin Kuang has been considered as the epitomized masterpiece of Guqin aesthetics. However, beauty is less discussed in Qin Kuang, while lobbying groups explained beauty in an unaesthetic way which has caused fallacy of transition. So this thesis will not only clarify the connections between Qin and the aesthetic but will also reveal the aesthetical implications of Qin Kuang. Hereby ponder the primordial discipline and the humanity in art alike.
This thesis contains six chapters. In Chapter 1, I cue the motivation of this study and the research method. With a reference system, it embodies the emergent aesthetic and the aesthetic wishes.
In Chapter 2, I clarify the structure of “er shi si kuang.” First of all, Qin Kuang only explained the theory of traditional qin lun. Secondly, it has come to the two-sides interior structures: “Xin-Zao Hua” and “De-Shen Ren.” Finally, the quality of Qin Kuang revealed was that playing Qin is to manage the minds of the performers themselves, further to the minds of human being as a whole. I emphasis the purpose of playing Qin is to “soothing and calming the minds.”
In Chapter 3, I deliver the fundamental notions of music. Firstly, Qin Kuang took “he bi” to present the “tao” of playing. Followed by “chong-he” to connect “playing” with “temper.” It goes further to the feelings and function of emotion. The “temper” is here to eliminate the “su ching”, further to embody the “shanshiu zhi shi Qin.” At the end of the chapter, I mention that “Tai he zhi chi” is the medium for Qin Kuang. Hereby I educate the “qing xing” in order to “xi sheng.”
In Chapter 4, I deliver the idea that the “beauty” of Qin Kuang is a kind of emergence. I reveal the difficult environment Xu Shangying had faced, then, I point out Qin Kuang was looking for the optimal values of “cho su gui ya, sher mei huan chun” instead of “beauty” itself. Qin Kuang embodies the jihngjieh of Tai He Gu Chang.
In Chapter 5, I delivere Xu Shangying's life background and his evaluations. Firstly, I discuss how about the identification of Qinshan. Second of all, I point out the preface of “Da haun ger qin pu” mentioned the “recognition.” In a nutshell, my discourse come to the heritage and value pursing of Qin Lun in the late Ming Dynasty. I think “aesthetic will” is not only associated with the pursuing of Qin Tao but also keeping the Qin Kuang going.
In Chapter 6, I unveil in sum, that there was no specific beauty emerged in Qin Kuang, instead, it presented the elaborated value of “cho su gui ya, sher mei huan chun” explicitly, which worked as an approach to improve the difficult situation in the late Ming Dynasty. However, the jihngjieh of qin playing was further to embody the values they pursued in such a fallen era. I emphasis that humanity is to present the “Tai He Gu Chang,” while expecting “You Dao Zhi Shi” to sustain the “qin tao.” In conclusion, I deliver the development and limitation of this research.

並列關鍵字

Guqin ； Qin Kuang ； Emergence Aesthetics ； Aesthetic Wishes ； Method of Mediated Connections

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