晚明江南琴坛的繁盛

The Prosperity of Guqin in Jiangnan of the Late Ming Dynasty

通过对现存明代琴学文献资料的考察,本文梳理晚明江南的琴人、琴派、琴乐、琴谱、琴论,及其对古琴的传承与发展,力求客观地恢复晚明江南古琴音乐发展的历史概貌。晚明江南地区涌现出了一批杰出的琴人,并形成琴派,琴派的形成是由地域因素、师承渊源、琴谱传承等几方面促成的。明代的主要琴派(江派、浙派、虞山派、绍兴派)都在江南地区。琴乐作品的创作繁荣,琴谱刊印取得的巨大成绩,虞山派"清、微、淡、远"琴学观点的影响,以及《山琴况》在古琴音乐美学史上的划时代意义,都表明晚明江南是古琴艺术发展的高峰期,集历代琴乐之大成,在古琴的历史中占有重要地位。

This article reorganizes the existing literature material of Guqin in the Ming Dynasty and discusses the Qin players, Qin schools,Qin music,Qin tablatures, Qin discussions and the inheritance and development of Guqin. Based on the above, the article strives to objectively draw the profile of Guqin music developing in Jiangnan of the late Ming Dynasty. The article thinks that the emerging of numerous outstanding Qin players in Jiangnan and the formation of many Qin schools are determined by multiple factors, such as geographical environment, studying origins, and the inheritance of Qin tablature. And the article makes conclusion that the main Qin schools （for example, Jiang school, Zhe school, Yushan school, Shaoxing school） grouped in Jiangnan, the prosperous creation of Qin music, the great achievements in the publish of Qin tablatures, the far-reaching impacts of the views of Yushan school, and The epoch-making significance of Xi Shan Qin Kuang all indicated that the late Ming Dynasty is the peak period in the history of Guqin art. Finally, the article goes further to clarify that the late Ming Dynasty centralized the highest achievement of Qin music in successive dynasties Guqin. and played an important role in the history of