古琴「徐門正傳」中的儒學意識

Confucian Consciousness in the“Xu Family Orthodox Tradition”of the Guqin

「絃歌不輟」是儒學的傳統。作為傳統文化中代表器物之一的古琴，儒學家與之關係是十分密切的。古琴史上第一個琴學流派「浙派」，即是由理學家記載而流傳下來的。如是研析，足以明證理學家的精神生活並非是後人所以為僅是道貌岸然的枯燥無趣，而是延續「絃歌不輟」的學習生活。古琴浙派的流衍，入明後方有「徐門正傳」之稱，影響後世甚大。本文延續了「從『遊於藝』到『成於樂』：兩宋理學家與古琴文化」與「晚宋元初理學家與古琴文化之交涉」的研究，進一步研析浙派「徐門正傳」的代表人物及代表琴曲所呈顯的儒學意識，以補苴儒學滲入古琴的「遊於藝」之精神。

“Uninterrupted Melodies”絃歌不輟are a tradition of Confucianism. As one of the representative objects in traditional culture, the ancient guqin has a close relationship with Confucian scholars. The first qin school in guqin history, known as the“Zhe Melodies,”浙派was recorded and passed down by Neo- Confucianists. Analyzing this can sufficiently demonstrate that the spiritual life of Neo-Confucianists is not merely a superficial and dull appearance, but a continuation of the“uninterrupted melodies”of learning. The development of the Zhe Melodies of guqin, known as the“Xu Family Orthodox Tradition”徐門正傳in the Ming Dynasty, had a significant influence on later generations. This article continues the research on the interaction between Neo-Confucianists of the Song and Yuan dynasties and guqin culture, further analyzing the representative figures and qin pieces of the Zhe Melodies’“Xu Family Orthodox Tradition”to reveal the Confucian consciousness they embody, thus supplementing the spirit of Confucianism pervading the guqin beyond the realm of artistic pursuit.