徐谼《谿山琴況》中「弦外之音」的意涵研究

The Significance of “overtone” in His-Shan’s Epithets on Qin Music Written by Hsu Hong

本論文旨在探討徐谼《谿山琴況》中「弦外之音」的意涵及其與道家思想的關聯，先從《谿山琴況》來看，徐谼對古琴曲之「弦外之音」的體認與「氣」、「意」的觀念有密切的關連，再追本溯源，則可見古琴音樂美學中「弦外之音」的意境實是源自道家藝術精神的體現，尤其是老子的「有無相生」與莊子的「心齋」說─「聽之以耳」、「聽之以心」、「聽之以氣」。道家的理念落實在古琴音樂上實踐，先由耳與心、心與氣之平衡、和諧，使生命從世俗中解脫與昇華，在如此的心境下撫琴，才能產生「弦外之音」，體現人與宇宙大自然的和諧統一，而形成古琴音樂獨具一格的美學價值。最後，本論文以吳兆基所彈之〈瀟湘水雲〉一曲中少許樂句為例，以說明古琴音樂體現道家生命哲學所展現「弦外之音」的深層意涵。

This paper aims to investigate the significance of “overtone” in His-Shan’s Epithets on Qin Music written by Hsu Hong; the concept “overtone” relates to Taoist philosophy. From the viewpoint of His-Shan’s Epithets on Qin Music, Hsu Hong’s experience concerning "overtones" of Guqin music is intimately linked to the human spirit（氣） and will（意）. Tracing the ancient literature, the artistic conception "overtones" of guqin musical aesthetics is actually derived from the artistic spirit of Taoist philosophy, such as Lao Tzu’s idea: “existence and non-existence give birth the one to （the idea of）the other”; Zuang tzu’s essay on the “fasting of the mind”, hearing of the ears, hearing of the mind and hearing of the spirit; let the hearing（of the ears） rest with the ears; let the mind rest in the verification（of the rightness of what is in the will）, but the spirit is free from all pre-occupation and so waits for（the appearance of）things.