明代嘉靖、萬曆年間之重要古琴流派「虞山派」，有著獨特的地理文化環境，虞山派創始人嚴天池主張清、微、淡、遠的古琴風格、徐上瀛《谿山琴況》深遠的琴學理論，因而造就了明代虞山派古琴藝術的特點，其古琴演奏風格及琴學理論風格也影響了當時候的古琴美學風格。除此之外，對明清之後以及現代的琴學主張與古琴審美藝術有一定程度的影響。 《松弦館琴譜》與《大還閣琴譜》所傳承的內容及闡述之內文、演奏美學理論，雖略有改變，但其內容大致相同，其琴譜除「和」的表現之外，另其琴學風格主張「清微淡遠、博大和平」，與古琴曲中之內涵及其演奏所遵循的「和合」與自然之結合以至所呈現琴之意韻，這其中所隱涵藝術之審美理念及其美學精神意涵更是環環相扣、遠遠流長。 本論文除參考文獻蒐集、琴譜比較分析外，還陸續訪談現代知名琴家，並經由各個琴人的觀點，更進一步的說明虞山派古琴音樂美學之審美精神，至今仍是古琴美學藝術之最。 During Jiajing and Wanli Periods of Ming Dynasties, Yushan School was an important guqin branch. Yushan School had unique physiographical characteristics. Its founder, Yan Tianchi, believed in a Ching, Wei, Dan, and Yuan guqin style as well as the qinxue of “Xi Shan Qin Kuang” by Xu Shangying. Together, they created the distinguished features of Yushan school in Ming Dynasty. Its performing style and qinxue’s theories also impacted guqin aesthetics styles and guqin beauty appreciation spirits of the time. Besides, it also influenced the guqin claims and beauty appreciation arts after the Ming and Qing Dynasties to some extent. Although the aesthetics in “Songxian Guan Qinpu” and “Dahuan'ge Qinpu” were not exactly the same, the differences were not big. While performing, it asked for “harmony” as well as a “Ching,Wei , Dan, Yuan, profound, peace” qinxue style. This represented a long- lasting and inter-connected beauty appreciation arts and aesthetics spirits after combined with “unity and harmony” Nature presented while performing. guqin melodies. This thesis referred to literatures and guqin templates for analysis. Contemporary celebrity giqun players are interviewed. Their opinions are interpreted to further explain why the beauty appreciation spirits of Yushan School guqin aesthetics are still top of guqin aesthetics art.
