高羅佩(Van Gulik, Robert Hans 1910-1967A.D)乃二十世紀重要的漢學家之一，其不僅深刻地了解中國傳統文化，對於古琴之造詣，更是不容忽視，在駐日期間，便發表了許多琴學論著，包括《琴道》、《嵇康及其〈琴賦〉》及《明末義僧東皋禪師集刊》等，著作頗為豐富。然而，有關《嵇康及其〈琴賦〉》一書卻鮮為學界所討論，因此本文乃以此為題，分成二個部份來剖析。一方面就《嵇康及其〈琴賦〉》之內容旨趣及論述精蘊來進行考察，包括竹林七賢之文化意涵、嵇康人格、〈琴賦〉之文體形式及翻譯摘要等；另一部份則為筆者在高氏的基礎之上，重新省思之結果，由於高氏在本書中，曾對嵇康之〈幽憤詩〉產生某些疑慮，認為其與嵇康清峻孤傲之生命型態有所牴觸，故本文乃就此進一步釐清；此外，筆者亦從藝術思想的角度，透過高氏〈琴賦〉的翻譯摘要，延伸出由宇宙論、琴律及審美境界來看待嵇康〈琴賦〉的可能性，期望能開出新的思維向度。

Van Gulik, Robert Hans was the important sinology in the 20th century. He not only understood Chinese traditional culture profoundly, but also was good at qin. During in Japan, he had abundant works about qin, including The Lore of the Chinese Lute, Hsi K'ang and His Poetical Essay on the Lute, The Collected Papers of Dong Gao Zen master of the Late Ming Dynasty, and etc. However, the written work Hsi K'ang and His Poetical Essay on the Lute is seldom discussed in the academia, so it's chosen as the subject in the essay, and was divided into two parts to analyze. In the first section, it mainly probes into the content and purport of the book, including the cultural meaning of the seven sages of the bamboo grove, the brief biography of Hsi K'ang, the style, contents and commentaries of Ch'in-fu , and etc. As to the second part, the author reflects on the views of Van Gulik, Robert Hans, mainly aiming at Hsi K'ang's personality and artistic thought. Concerning about Hsi K'ang's personality, Van Gulik, Robert Hans once doubted that some passages in Yu- fen-shih (〈幽憤詩〉) don't accord with what other sources say about Hsi K'ang's character and the dignified way in which he awaited his execution. So, the author tries to clarify these doubts in the paper. At the same time, the author unfolds the new possibilities to interpret Hsi K'ang's Ch'in-fu from cosmology, qin temperament and aesthetic realm by the note of Van Gulik, Robert Hans' translation to open a new perspective.