江苏省中国古琴史记（三）：先秦时期

在春秋时期，古琴已经发展成为一种可以用于独奏的乐器，并且涌现出了许多演奏水平高超的琴家以及许多感人至深的作品。根据史料记载，在春秋时期各诸侯国的宫廷中，都有擅长古琴的宫廷琴家，比如师旷、师文、师襄、师涓等。师旷是春秋时期晋国的大乐师，他能够演奏多种乐器，其中尤以古琴最为出色。在《左传》《国语》等诸多典籍中，都有关于师旷的记载和传说。

在先秦时期，古琴还被广泛地用于伴奏和歌唱，这种形式被称为“弦歌”。《诗经》中也有许多诗篇提及古琴，例如“琴瑟在御，莫不静好”这句话，说明当时的琴乐已经成为人们修身养性、陶冶情操的重要工具；而“我有嘉宾，鼓瑟鼓琴”则表明琴乐是当时人们待人接物、相互交往的重要方式，也是日常生活中重要的娱乐形式。再如“琴瑟击鼓，以御田祖”这句话，证明了琴乐还是当时祭祀活动中的重要内容，并且常常可以和鼓等乐器配合使用。山东女郎山战国墓中曾出土过抚琴击鼓俑，也从侧面印证了这一点。

到了战国时期，随着音乐文化的进一步繁荣，出现了“其民无不吹竽鼓瑟、弹琴击筑”的热闹景象。在这样的音乐文化发展背景下，出现了伯牙、雍门周等杰出的琴家。

关于伯牙的传说，最早见于战国末年荀子的《劝学篇》，两千多年来一直广为流传。同时期的《吕氏春秋》中还记载了伯牙弹琴、钟子期善听的故事。相传，伯牙在弹琴时，无论是表现“巍巍乎志在高山”，还是表现“洋洋乎志在流水”，他的好友钟子期都能心领神会。钟子期去世后，伯牙痛失知音，从此再也不弹琴了。这个故事一直被后世传诵，伯牙和钟子期也成为了知音的典范。

由于先秦时期“士”族文人阶层的兴起，古琴成为了当时士大夫修身理性的工具。孔子、庄子等先贤圣哲，不仅在他们的著作中表达了各自的琴乐审美观念，而且他们本身也是出色的古琴家。山东曲阜至今还保留着“孔子闻韶处”的古迹。诸侯林立的春秋战国时代，不仅在中国文化史上有着深远的影响，也为中国古琴音乐的发展奠定了坚实的基础。

During the Spring and Autumn Period, the guqin had already developed into an instrument capable of solo performance, and many highly skilled qin players and touching works emerged. According to historical records, in the royal courts of the various vassal states during the Spring and Autumn Period, there were court qin players proficient in the guqin, such as Shi Kuang, Shi Wen, Shi Xiang, and Shi Juan. Shi Kuang was the grand music master of the State of Jin during the Spring and Autumn Period. He was skilled in playing various instruments, with the guqin being his greatest expertise. Shi Kuang is mentioned and eulogized in many ancient texts, including the Zuo Zhuan and Guoyu.

In the pre-Qin era, the guqin was also widely used for accompaniment and singing, known as "string singing." The Book of Songs contains numerous references to the guqin. For example, the phrase "When the qin and se are played, all is peaceful and good" indicates that qin music had become an important tool for self-cultivation and emotional refinement at that time. The line "I have distinguished guests, playing the se and the qin" shows that qin music was an essential part of social interaction and entertainment in daily life. Another example, "Playing the qin and se, beating the drum to welcome the ancestor of farming," proves that qin music was also a significant element in sacrificial ceremonies and was often used in combination with other instruments like drums. The discovery of figurines playing the qin and beating drums in the Warring States tombs at Nülang Mountain in Shandong further corroborates this.

By the Warring States Period, with the further prosperity of music culture, a vibrant scene emerged where "everyone played the yu, se, qin, and zhu." Against this backdrop of musical development, outstanding qin players like Boya and Yongmen Zhou appeared.

The legend of Boya first appeared in Xunzi's Encouragement of Learning during the late Warring States Period and has been widely circulated for over 2,000 years. The contemporary text Lü's Spring and Autumn Annals also recorded the story of Boya playing the qin and Zhong Ziqi's ability to understand his music. It is said that when Boya played the qin, whether he expressed "majestic as the high mountains" or "flowing like the great rivers," his friend Zhong Ziqi could always grasp the meaning. After Ziqi's death, Boya, grieving the loss of his soulmate, never played the qin again. This story has been passed down through the ages, and Boya and Ziqi have become the epitome of soulmates.