中國琴學中的孔子形象書寫及特徵

The Depiction and Characteristics of Confucius in Chinese Guqin Studies

孔子形象研究是孔學研究的重要議題之一，不同時代對孔子形象的理解各不相同。如何理解中國琴學中的孔子形象，不但關涉孔子思想與孔子學說的重新闡釋與重新發現，也關係到人們對儒家文明與傳統文化的認知與闡釋。本文把孔子形象置於中國琴學中進行分析與考辨，探尋孔子形象在中國琴學的書寫。琴學中的孔子和普通人一樣有困惑和彷徨、會憤怒和慟哭，在正史和詩歌中無法表達的情緒，在琴曲中得到了合理的釋放。《猗蘭操》、《思賢操》、《獲麟操》等系列琴曲，以及《將歸操》、《孔子厄》等相關文獻，不僅刻畫了琴學中的孔子形象，還注解了《論語》、《春秋》等儒家經典，是一類獨特「解經」文獻。

The image of Confucius has been continuously reinterpreted throughout history, each era reflecting its own understanding of the sage. Within the realm of Chinese Guqin studies, this evolving portrayal takes on a uniquely expressive dimension. By examining Confucius through the lens of qin tradition, we uncover not only new layers of his philosophical legacy but also profound insights into Confucian civilization itself. Unlike the formal depictions in historical records or poetry, Guqin compositions reveal a strikingly humanized Confucius—one who grapples with doubt, gives voice to anguish, and finds solace in music. Masterpieces such as Yi Lan Cao (Lament of the Orchid), Si Xian Cao (In Remembrance of the Virtuous), and Huo Lin Cao (The Unicorn's Omen) do more than portray the sage; they serve as melodic exegeses, offering musical interpretations of classical texts like The Analects and Spring and Autumn Annals. Through their haunting melodies and poetic narratives, these works transform the qin into an instrument of philosophical discourse.