The Indus Japanese Guqin, which is included in the Japanese ancient classic Manyoshu, was originally a letter accompanying the gift of a guqin from Otomono Tabito to Hujiwarano Husasaki. Earlier studies on its textual origin have already ascertained that the terms and writing style in The Indus Japanese Guqin were affected by Ji Kang's Guqin Fu. However, in this paper, it is considered that the relationship between them is not essential. Most of the subsequent literary output would use previous works for reference on terms and writing style, although both of them are written by the Chinese. For example, literary works of the Tang Dynasty generally referred to the literary classics before the Tang Dynasty. The reference to literary classics such as Guqin Fu within The Indus Japanese Guqin is not reflected on the level of terms and writing style, but on the level of "cultural cognition", namely the cultural cognition of the guqin. Therefore, this paper considers literary works such as Ji Kang' s Guqin Fu as the "literary classic references", or the cultural environment, in which The Indus Japanese Guqin was created, without distinguishing their nationality. By restoring the original cultural and literary images of the guqin, this paper objectively illustrates the 19uroort of The Indus Japanese Guqin.%收录于《万叶集》中的《梧桐日本琴》是大伴旅人随琴所附赠与藤原房前的书简，以往的出典考据已经判明，《梧桐日本琴》在遣词作文上受到了嵇康《琴赋》的影响。但论者认为，上述影响关系绝非二者之间关系的本质。即便同为中国作家所作，后世文学作品在遣词作文上也大都是对前人作品的化用，比如唐代文学作品亦是在化用先唐经典的基础上创作而成。《梧桐日本琴》对《琴赋》等文学古典的化用，不是体现在遣词作文的层面上，而是体现在“文化认知”的层面上，即对于“琴”的文化认知上。因此，本论文不问典籍的国别出处，将《琴赋》等作品视为《梧桐日本琴》赖以生成的“文学古典”，亦即文化环境，通过还原其中的“琴”之文化、文学意象，客观地论证了《梧桐日本琴》的主旨所指。
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