古琴指法吟、猱以「圓」為美的意義與流變

The Meaning and Evolution of the “Roundness and Fullness” as Beauty using the Techniques of the Fingers: “Yin” and “Nao” of Guqin Music

「五音活潑之趣，半在吟猱」，這句話最早由（明）徐谼所提出，時至今日，吟、猱的指法依然是琴韻之美的關鍵。然而，吟、猱的指法如何形成琴曲的趣與韻呢？由於吟、猱指法的表現隨著琴家與琴派的不同而有大同小異的出入，筆者先從存見明清古琴譜按年代先後排序，將吟、猱指法做整理與分析，羅列其中有關吟、猱指法的重點，比對其異同與流變；再以其中獨具特色的《梅庵琴譜》中的吟、猱指法為例，參考梅庵琴派徐立孫、吳宗漢兩位先生演奏的錄音，並結合筆者向呂培原老師習得此曲時所獲得之體會與理解，從《梅庵琴譜．平沙落雁》來看，吟、猱指法如何形成此曲的意韻，以見古琴之吟、猱指法流傳至今的現代意義。

 

The lively delights of guqin music depend partly on the vibratos: “Yin” and “Nao.” This statement was first proposed by Hong Xu in the Ming dynasty. Today, the techniques of the fingers, “Yin” and “Nao,” of guqin music are still the key to appreciating guqin music. However, how do these techniques of the fingers form the lively delights and lasting charm of the guqin music? The interpretations of the “Yin” and “Nao” techniques vary greatly among the guqin players and the guqin schools. In this work, I first sort and analyze the techniques of the fingers, “Yin” and “Nao,” collected in the guqin handbooks in the Ming and Qing dynasties by chronology. Then I list the focuses of the techniques of “Yin” and “Nao” to compare the similarities and differences as well as the development among them. Finally, I takes the “Pingsha Luoyan” (Wild Geese Descending On The Sandbank) collected in Mei-an ch’in-p’u as an example to see how the evolution of “Yin” and “Nao” techniques influence the modern guqin players’ interpretation of the meaning of the lively delights and lasting charm of the guqin music.