本研究旨在探討明清時期以來迄民國初期，古琴譜中「指法手勢圖」的樂象意涵。除了前言與結論外，首先提出前人的研究成果回顧，並以荷蘭漢學家高羅佩（Dr. Robert Hans van Gulik）及法國音樂學家知音（Dr. Véronique Alexandre Journeau）的觀點為考察對象；再參考今人顧梅羹之說，將古琴「指法手勢圖」的源流做一梳理；其後，以北京中華書局出版的《琴曲集成》為主，特就其中20 本古琴譜中「指法手勢圖」的指法形勢及聲音喻象做分類與比較，以探知其間之差異所展現出來的意義；最後，透過這些史料文獻的爬梳整理，本研究提出明清時期以來迄民國初期的古琴譜中「指法手勢圖」的樂象意涵，其實是反映出人與大自然宇宙和諧為一的傳統文化價值觀。

The aim of this paper is to research the significance of "fingering and gesture tablature" of Chinese Guqin in the Ming and Qing Dynasties. The author classifies and compares the musical images of fingering and the metaphors of sound concerning Chinese Guqin, and then explores the significance of the musical images in "fingering and gesture tablature" of Chinese Guqin. In addition to the preface and conclusion, first, the author reviews the results of previous studies such as Dutch Sinologist Robert Hans van Gulik's and French musicologist Véronique Alexandre Journeau's. Second, the author views the origin and development of "fingering and gesture tablature" of Chinese Guqin from a historical perspective by consulting the writing of modern Chinese Guqin player Gu, Mei-geng. Third, based on twenty Guqin handbooks collected in Qin Qu Ji Cheng （'Grand Anthology of Guqin Music'） and published by the Zhonghua Book Company in Beijing, the author will classify and compare the "fingering and gesture tablature" of Chinese Guqin to examine the meaning of the differences among them. Finally, the author will discuss the significance of the "fingering and gesture tablature" of Chinese Guqin through these historical documents. The "fingering and gesture tablature of Chinese Guqin" reflects Chinese cultural values, that is, people integrated the nature of universal harmony into a whole perspective.