長期以來對古琴的樂器、樂譜、實踐方式等不同層面，一直存在著不少批評，認為它不夠完善、不合時宜，必須改良。這些批評自民國初年至今未能止息，許多重要觀念仍未獲得澄清。本研究的目的，是澄清有關古琴審美評價之問題，特別是其中的心物關係，指出許多對古琴的批評往往採取了某些預設立場，特別是「心物二元極化」的基本假設，而在未檢視這些預設立場是否適用於古琴之前，便直接以其為出發點進行批判。而事實上，「心物二極」立場與許多明末以前的古琴審美文獻所透露的立場背道而馳。傳統審美活動中，物質環境、人為情境等等在今日西方音樂學看來非關音樂聲音現象，或甚至視為非關音樂的種種領域──包括彈琴場所、聽琴者、琴人身心狀態等等──往往統合在一起，成為審美經驗的整體，不可分割；因此與今日的心物二極評價觀點，相去甚遠。本研究將由審美要求、彈琴規範，以及審美體驗三方面，說明明末以前的古琴審美傳統與「心物二元極化」的立場相衝突之處。

The guqin has often been criticized for its instrument, notation and practice. The instrument and practice are considered unsatisfactory, not up to date, and need to be improved. Such criticisms occur ever since the early years of the Republic of China, and still appear even today without due clarification. The purpose of this study is to clarify certain essential issues behind these criticisms. In particular, it deals with the pre-supposed relationship between mind and matter. A common presupposition behind those criticisms is the bi-polarity of mind and mater. However, such a presupposition is alien to the guqin aesthetic tradition. In this tradition, the player’s mind and the material world in and around him when he plays are closely connected, and in certain circumstances even amalgamated into one unified whole. In order to show the inappropriateness of the bi-polar presupposition in those criticisms of guqin, this essay examines various guqin aesthetic texts, and discusses
them in terms of three dimensions: the aesthetic goals, playing regulations and the player’s experience.