論明代古琴家楊表正的儒學意識

On the Confucian Consciousness of Yang Baozheng, a Guqin Master of the Ming Dynasty

楊表正《重修正文對音捷要真傳琴譜大全》（簡稱《重修真傳琴譜》），是琴歌曲代表的琴譜之一，「正文對音」為其琴歌曲創作的方式。論者對之批評甚為嚴厲，如虞山派嚴澂批判此方式使古琴藝術失去了崇高性；爾後人們認為，引發琴歌粗製濫造之風尚，禍首即是他。然而，楊表正「註明指法，一字不苟」的態度，使「正文對音」的琴歌曲發展達到一定的高度，他人的批評自然無損於其在琴學發展上的貢獻。本文依據《重修真傳琴譜》，考察了楊表正的字號生平，研析了其琴歌曲的創作精神，同時分析其〈彈琴雜說〉、〈樂記篇音論〉、〈學記篇論〉、〈立教集論〉諸文的立論精神，得出楊表正高度發揚傳統儒學精神，如闡述《大學》精義，懷抱如伊尹、周公佐世之志，希冀邵雍式的安樂，歌頌武侯的忠烈，闡揚李密之孝思等，而其立論更建立於「琴者，禁也」的傳統之上，「禁邪歸正，以和人心」為其功效，故需閱讀《樂記》、《學記》之儒家聖典，明學習之核心及師道之尊嚴，使其琴學展現出深刻的儒學意識。本文所論，糾正了學者沿襲之誤，當能補苴學界對楊表正之研究的不足。

Yang Biaozheng’s Revised Authentic Complete Collection of Guqin Music Pairing Words with Music (commonly known as the Revised Authentic Guqin Music Collection) stands as one of the representative guqin music collections. Its method of composition,“text paired with notation,”drew severe criticism from scholars. For instance, Yan Cheng of the Yushan School condemned this approach for stripping the guqin art of its nobility. Subsequently, he was widely regarded as the instigator of the trend toward crude and indiscriminate qin song production. Nevertheless, Yang Biaozheng’s meticulous approach—“annotating fingering with unwavering precision”—elevated the development of“text-and-tone-matched”qin songs to a significant level. Criticisms from others inevitably diminish his contributions to the history of qin studies. This article examines Yang Biaozheng's pseudonym and biography based on the Revised Authentic Transmission Qin Score, analyzes the creative spirit of his qin songs, and interprets the philosophical essence of his works such as Miscellaneous Discourses on Qin Playing, Discourse on the Notes of the Book of Music,“Discourse on the Learning Records,”and“Collected Discourses on Establishing Education.”It concludes that Yang Biaozheng profoundly promoted traditional Confucian ideals—elucidating the essence of the Great Learning, aspiring to the statesmanlike dedication of Yi Yin and the Duke of Zhou, seeking Shao Yong-style tranquility, praising Zhuge Liang’s loyalty and valor, and extolling Li Mi’s filial devotion. His arguments were grounded in the traditional principle that“the qin is a means of restraint,”serving to“curb evil and restore righteousness, harmonizing the human heart.”Thus, he emphasized the necessity of studying Confucian classics like the“Book of Music”and“Record of Learning”to grasp the core of learning and the dignity of the teacher's role, thereby imbuing his qin studies with profound Confucian consciousness. This article corrects longstanding scholarly misconceptions and should help fill gaps in academic research on Yang Biaozheng.