古琴何以成為儒學生活世界的器物之一？－－從宋儒朱長文樂圃先生《琴史》論起

How Did the Qin Become Part of the Confucian Lifeworld?

「琴棋書畫」為傳統文人生活世界具體內容的統稱，古琴又為其中之首。朱長文撰述《琴史》，乃感於書畫編述完備，獨古琴未有編述之故。《琴史》是歷史上第一部有關古琴史的通論，後世論者闡述琴學多引之立論。考其立論核心，乃立基於儒學道統，推崇古琴是承載儒家思想的正統器物之一。本文通過考察朱長文的家世、生平、學思，以陳述朱長文的為學宗旨乃是在於儒學的「《春秋》精神」。朱長文以之精神撰述《琴史》，標榜儒家道統，發揚儒學意識，認為古琴具有感通人神、移風易俗的治世功效，自古即是士大夫音樂的代表等特色。文中通過「文人風尚與長期創造而凝聚的文化氛圍」、「個人修養與堯舜之治而重塑的儒學關懷」、「古雅琴聲與天道合一而創作的音樂正統」、「抗旨不彈與孤芳自傲而形塑的文人雅器」四面向，欲圖說明古琴何以成為儒學生活世界的器物之一。

Qin, chess, calligraphy and painting, these four activities comprise the traditional way of life of the Chinese literati, with qin being listed first. Zhu Zhangwen wrote the History of the Qin, because at his time there were no comprehensive studies on the qin, as compared to calligraphy and painting. Thus the History of the Qin became the first comprehensive study of the qin, being frequently quoted throughout the following dynasties. It looks at qin from a Confucian perspective, seeing it as a means to transport Confucian tradition. Based on the life and work of Zhu Zhangwen this paper proposes to see him as a scholar committed to the Spring and Autumn Annals tradition within the Confucian tradition. Zhu Zhangwen writes the History of Qin from this perspective, stressing how the qin advances Confucian tradition, furthers a Confucian conscience and thus can play a role in the transformation of society, as proposed by early treatises on music. The paper discusses the subject from four perspectives: literati taste and its long term impact on society, self-cultivation and the ideal government of the sages Yao and Shun, the refined old qin sound correlating to the way of heaven and the creation of a new orthodoxy, defiance and the shaping of a literati musical instrument.