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明代徐上瀛《溪山琴况》是古代琴乐批评的集大成之作,其中融合了儒、道、释三家美学思想和审美品味,成就了《琴况》在历代琴乐批评中的顶峰地位。《溪山琴况》侧重谈论古琴表演中心、手、弦、音如何协调统一的“和”的问题。《溪山琴况》中的“和”从形而上的琴之“道”转向了“形而下”的琴之艺,即从理论走向了实用,从清谈变为实践。这是琴史上划时代的一次转型,为历来视“琴”为圣物、神器的音乐思想带来了世俗化的转变。其指、弦、音、意两两相和的“三和”观注重“心”的作用,提倡一种琴手合一,指达音声、心音同步的理想境界,不仅为古琴表演从实践上作出了详尽的指导,而且对表演过程中遇到的很多实际问题进行了解说,在很大程度上从音乐表演的角度进行了理论指导,成为古琴可供指导实践的经典教材。
XU Shang-ying’s “Xikingshanqin” in the Ming Dynasty is a masterpiece of ancient qin-music criticism. It incorporates the three aesthetic thoughts of Confucianism, Taoism and Buddhism and aesthetic taste, which has made the highest position of “Qinqiyan” in the criticism of Qin music throughout history. “Xishanqinqiang” focus on the performance center, hand, chord, tone how to coordinate the unity of “and ” issue. The art of Qin from the metaphysical piano to the metaphysical from the metaphysical piano is from pragmatism to pragmatism and from discourse to practice. This is an epoch-making transition in the history of the Qin Dynasty. It has brought secular changes to the musical ideas that have always regarded the “Qin ” as the sacred object and the artifact. It refers to the role of “harmony” between two phases of chord, sound and intension, focusing on the function of “heart” and advocating an ideal state in which the hand of a piano is one, which refers to the synchronization of sound and heart sounds. It has made detailed guidance in practice and explained a lot of practical problems encountered in the process of performance. To a large extent, it has made theoretical guidance from the point of view of music performance and became the classic teaching material for guqin to guide practice.