明末清初徐谼的《谿山琴況》是中國琴樂美學史上最重要的名著，其以二十四況來論述古琴的演奏技巧與美感意境論與司空圖《二十四詩品》是中國文藝美學思想史上並蒂而開之作。而《谿山琴況》中又以「和」況為二十四況之首，蘊藏著豐富的美學意涵，乃是全文的眼目所在，今本論文之研究即在探討《谿山琴況》的美學範疇—「和」況的意涵，全文論述的重點如下： 壹、前言 貳、《谿山琴況》的創作背景與內外因緣 參、《谿山琴況》美感意境論的論述模式 肆、《谿山琴況》中「和」況的意涵析論 伍、結論 透過上述的探討，筆者擬從文本脈絡的解讀結合彈琴實踐的體驗來研究，提出徐谼如何透過「和」況來納繫二十四況的審美範疇，將古琴音樂的審美意境及其在古人游藝生活中境界實踐的意義，由抽象的體認及具體的理論提昇到美的藝術境界，以展現撫琴的價值不止是一樣藝術，更是古人體道以實踐自我的方式。

His-Shan’s Epithets on Ch’ in Music by Hsu Hong, the end of Ming Dynasty, was a very important treatise on ku-ch’in art in Chinese history of music esthetics. There are 24 esthetical articles of the ku-ch’in art in His-Shan’s Epithets on Ch’in Music, touched upon artistic conceptions and esthetical thoughts. By examining and generalizing 24-eptithets, then the author reveals the significance of harmony among 24 esthetical articles of the ku-ch’in art, and what value the concept of harmony had on His-Shan’s Epithets on Ch’in Music.