徐谼所撰之《大還閣琴譜》包括《萬峰閣指法閟箋》、《左右手二十勢圖說》、 琴曲三十二首及《谿山琴況》是呈現其琴樂審美觀的重要素材，本文擬以《大還 閣琴譜》中的琴曲〈瀟湘水雲〉之「水雲聲」為例，並參酌《谿山琴況》，《萬峰 閣指法閟箋》、《左右手二十勢圖說》，從指法的要訣和琴曲段落的音型（以水雲 聲為主）等來分析，而印證徐谼如何將其《谿山琴況》的審美觀落實在琴曲中實 踐，以彌補前人在這方面的研究不足之處。

Hsi-Shan's Epithets on Qin Mu^ic, written by Hsu Hong, is the most important work in the field of Guqin musical aesthetics. Another two books written by Hsu Hong, Wan-fong-Ge Zhi Fa Mi Jian (20 kinds of “fingering and gesture tablature of Chinese Guqin”) and Da Huan Ge Qinpu are also important source materials for the representation of Hsu Hong’s viewpoints on the appreciation of beauty in Guqin music. This research aims to examine the above works. In addition to Da Huan Ge Qinpu, the author investigates the significance of Wan-fong-Ge Zh^ Fa Mi Jian and (20 kinds of “fingering and gesture tablature of Chinese Guqin”)，also compiled by Hsu Hong. In particular, the author uses the sound of “mist and cloud” in the tune: “Mist and Cloud over Xiao-Xiang Rivers” as examples. The author considers some important factors for successfully achieving the above stated goals, including the method of fingering and gesture for playing the Guqin, and the tune and form of Guqin music. Finally, the author indicates how Hsu Hong put his viewpoints on the appreciation of beauty in the playing of Guqin music into effect,making up for the inadequate research on this topic by earlier scholars.