「淡（澹）」成為中國美學的範疇，最早乃源自道家思想的沃土，爾後，在後世綿延影響，逐漸滲透在文藝美學中，尤其是在宋代詩論中，常可見以平淡、自然作為文藝美學的價值依歸，而發展出由絢麗返歸平淡的思維。此外，「淡（澹）」與「麗」的思維也出現在明清之際，徐谼的《谿山琴況》中有「麗者，美也」、「麗從古澹出」之說，由人生修養的工夫體現以「澹」為美的價值意涵，將「麗」從世俗美感的層次轉化提升，形成與「古澹」審美範疇之間的辯證關係。本文即在探討《谿山琴況》中以「麗」為美，「麗從古澹出」的意涵，如何透過人之身體察識、人格修養與彈琴技巧具體地呈現，形成古琴美學中「淡（澹）」與「麗」兩範疇之間融通、超越與統一的意涵。

“Dan” （the literal meaning: returning to a natural and tranquil life） is one of the Chinese aesthetic categories that originated from the teaching of Taoist school. Later, the continuous influence of “Dan” gradually affected Chinese literature and arts, especially the theory of poems in the Sung Dynasty. It is thus clear that the value of literature and arts was then based on the idea of “Dan”. The concept of “Dan” had an impact on the style of literature and arts, overshadowing the general superfine pursuit, namely “Li”, at that time. “Dan” and “Li” can also be found in the theory of guqin music, as in His-Shan’s Epithets on Qin Music written by Hsu Hong. He defined “Li” as “beauty”; “Li is derived from Gu （it literally means classical aroma） and Dan” which reflect not only the pursuit of musical aesthetics, but also the significance of the cultivation of life. It transforms the general cognitive perspective of “Li” from secular sensory beauty into spiritual aesthetic sensibility. This paper aims to discuss the significant meanings of “Li” as “beauty” and “Li is derived from Gu and Dan” in Hsu Hong’s article. The researcher attempts to investigate the dialectical relationship between the aesthetic categories “Li” and “Dan”. Furthermore, the author will reveal how the ancient guqin players combined these two opposite meanings “Li” and “Dan” into a dialectical whole through the cultivation of life and artistic techniques.