《天聞閣琴譜‧二十四琴品》研究

Research on the “24 Epithets on Guqin Music (24 Qinpin)” collected in Tianwenge Qinpu

本論文旨在研究[清]張孔山、唐彝銘合編《天聞閣琴譜》中的〈二十四琴品〉，及其與司空圖《二十四詩品》之關聯，兼與徐青山輯《大還閣琴譜》中的二十四《琴況》 （《谿山琴況》）略做比較。基本上，二十四《琴況》是以二十四個「一字評」式的美學範疇，來展示古琴實踐的風格意境，乃是古琴音樂美學上的顛峰之作。然而，二十四《琴況》是否承自司空圖《二十四詩品》的啟發？前人的觀點不一。相形之下，〈二十四琴品〉卻默默無聞，罕為人知。但〈二十四琴品〉標示「用表聖詩品原題」，採用司空圖《二十四詩品》的架構，以同樣的二十四個品題（如雄渾、沖淡……等）展開古琴音樂的審美範疇，今本論文即擬探討〈二十四琴品〉如何吸取《二十四詩品》的前例融入其文中，其與《二十四詩品》的差異又為何？進而筆者將〈二十四琴品〉與二十四《琴況》相似的範疇略做比較，並提出對〈二十四琴品〉的價值評估與定位。

 

This paper aims to research the “24 Epithets on Guqin Music (24 Qinpin)” collected in Tianwenge Qinpu. Basically, the “24 Epithets on Guqin Music (24 Qinpin)” borrowed the aesthetic categories of the 24 Epithets on Poems to express and state the Guqin musical aesthetics. However, it is rarely known. The researcher discerns the relation between these two works and tries to carefully compare and discuss the form and content of these two works in order to clarify how the 24 Epithets on Guqin Music (24 Qinpin) imitated the form of the 24 Epithets on Poems and was influenced by the 24 Epithets on Poems. Simultaneously, the researcher will also indicate their individual characteristics. In addition to find how the former received and absorbed the form and content of the latter, to fuse and form the aesthetic categories of Guqin music. The researcher will also compare the “24 Epithets on Guqin Music (24 Qinpin)” and the 24 Epithets on Guqin Music (24 Qingkwuan) , to discover the difference and similarity of aesthetic categories of appreciation using a single word and compound words. Finally, the author will propose the evaluation of the “24 Epithets on Guqin Music (24 Qinpin)”.