江苏省中国古琴史记（五）：魏晋 南北朝

从汉末到魏晋南北朝时期，文人音乐家逐渐兴起，其中一批文人音乐家不依附于宫廷，而是活跃于士族阶层。他们以善琴著称，如“建安七子”中的阮瑀，“竹林七贤”中的嵇康、阮籍、阮咸等，此外还有杜夔、傅玄、左思、刘琨、成公绥、孙登、戴逵、宗炳、柳恽、柳谐等。其中，嵇康（223—263年）是魏晋名士中的代表性人物。他与名教采取完全对立的态度，向往摆脱世俗的羁绊，追求心境的宁静与淡泊的生活。嵇康钟情于琴，认为音乐可以导养神气、宣和情志，是他在穷独之时的慰藉。因此，琴和诗成为他忘忧、守道、逍遥的工具，弹琴、咏诗则是他自觉追求的人生乐趣和诗化人生的象征。

六朝时期，君主和士子大多爱好文学和音乐。然而，一些出身庶族寒门的文人，因士族门阀制度的限制，常处于不得志的境地。他们愤世嫉俗，隐遁逃世，以琴书自娱。如载逵、戴颙、戴勃父子、宗炳、柳恽、柳谐等，都是当时较有影响的文人琴家。魏晋南北朝文人不仅弹奏琴曲，还自创琴曲。嵇康所作琴曲，相传有《嵇氏四弄》，即《长清》《短清》《长侧》《短侧》四首，后世常将其与蔡邕的《蔡氏五弄》合称“九弄”。他的《琴赋》摹声状音，辞采天发，文中提到许多琴曲作品，包括传说中师旷演奏的《白雪》《清角》，以及古代的《渌水》《清徵》《尧畅》《微子》等曲目，还记录了当时流行的《广陵止息》《东武大山》《飞龙鹿鸣》《流楚窈窕》以及《蔡氏五弄》《王昭（君）》《楚妃》《别鹤》等。南北朝时期的戴颙兄弟也作有多首琴曲。竹林七贤中另一位精于琴的文人阮籍（210—263年），是“建安七子”阮瑀之子。他出身仕宦，博览群籍，满怀济世之志，但身逢乱世，只能借酒佯狂，以啸、琴表达其孤傲不群的性情。琴曲《酒狂》就是表达他这样心境的作品。

在琴论领域，嵇康的《琴赋》是一篇深入而富有诗意的琴论。此外，嵇康的《声无哀乐论》、阮籍的《大人先生传》、谢希逸的《琴论》、崔亮的《琴经》、萧衍的《琴要》、萧绎的《纂要》等，都是比较重要的作品。文献中明确提到徽的是嵇康《琴赋》中的“徽以锺山之玉”，但文中未提具体徽数。较早的有徽之琴的图像材料见于考古发现的南京西善桥南朝齐、梁陵墓画像砖《竹林七贤与荣启期》，图中嵇康和荣启期所弹之琴，琴面外侧均列有十多个明显的琴徽。近年的考古发掘还出土了一件东晋的嵇康弹琴图漆盘，其上所绘嵇康弹琴形象和琴的造型，与南京西善桥南朝墓“竹林七贤”砖画基本相同。此外，东晋画家顾恺之（约346～407年）所绘的《斫琴图》，描绘了古代文人制琴的场景。此时的古琴已经呈现出成熟的“合体全箱式、七弦、两足、十三徽”的风姿。

From the late Han Dynasty to the Wei and Jin Dynasties, a group of literati musicians emerged within the gentry class, who did not rely on the imperial court. They were known for their proficiency in playing the guqin. These included figures such as Ruan Yu from the “Seven Sons of Jian'an,” and Ji Kang, Ruan Ji, and Ruan Xian from the “Seven Sages of the Bamboo Grove.” Others like Du Kui, Fu Xuan, Zuo Si, Liu Kun, Cheng Gongshui, Sun Deng, Dai Kui, Zong Bing, Liu Yun, and Liu Xie were also renowned for their guqin skills.

Ji Kang (223–263) was a representative figure among the Wei and Jin literati. He took a completely antagonistic stance towards conventional teachings, aspiring to break free from the shackles of secular life and pursue a tranquil and unencumbered existence. Ji Kang had a deep affection for the guqin, stating, “Since my youth, I have loved music and continued to practice it as I grew. I believe that while all things have their rise and fall, music remains unchanged. While tastes may grow weary, music never tires.” He believed that music could “cultivate one's spirit, harmonize emotions, and provide solace in solitude.” Thus, the guqin and poetry became tools for Ji Kang to forget worries, uphold his principles, and live a carefree life. Playing the guqin and composing poetry symbolized his conscious pursuit of life's pleasures and a poetic existence.

During the Six Dynasties period, both monarchs and scholars had a strong interest in literature and music. However, some literati from humble backgrounds, constrained by the gentry clan system, often found themselves frustrated and unfulfilled. They tended to be cynical about the world, choosing to retreat and live in seclusion, entertaining themselves with music and books. Figures such as Zai Kui, Dai Yong, Dai Bo (father and son), Zong Bing, Liu Yun, and Liu Xie were influential literati guqin players of the time.

The literati of the Wei, Jin, and Northern and Southern Dynasties not only played guqin pieces but also composed their own. Ji Kang is said to have composed the “Four Pieces of Ji,” namely Changqing, Duanqing, Changce, and Duance. These four pieces, together with Cai Yong's “Five Pieces of Cai,” are collectively known as the “Nine Pieces” in later generations. Ji Kang's Fu on the Guqin is a vivid and poetic work that captures the essence of music. It mentions numerous guqin pieces, including the legendary Baimu and Qingjiao played by Shi Kuang, as well as ancient pieces like Lushui, Qingzhi, Yaochang, and Weizi. The Fu on the Guqin also records popular pieces of the time, such as Guangling Zhi Xi, Dongwu Dashan, Feilong Luming, Liuchu Yaotiao, the “Five Pieces of Cai,” Wang Zhaojun, Chufei, and Biehe. The Dai brothers of the Northern and Southern Dynasties also composed several guqin pieces. Another member of the “Seven Sages of the Bamboo Grove,” Ruan Ji (210–263), was the son of Ruan Yu from the “Seven Sons of Jian'an.” He was born into an official family, well-versed in various texts, and full of aspirations to save the world. However, living in a chaotic era, he could only pretend to be mad and express his aloof and proud character through drinking, whistling, and playing the guqin. The guqin piece Jiukuang reflects his state of mind.

In the field of guqin theory, Ji Kang's Fu on the Guqin is a profound and poetic work. Other important contributions include Ji Kang's On the Lack of Sorrow and Joy in Sound, Ruan Ji's Biography of the Great Man, Xie Xiyi's Treatise on the Guqin, Cui Liang's Classic of the Guqin, Xiao Yan's Essentials of the Guqin, and Xiao Yi's Compendium. The earliest mention of the inlays (hui) on the guqin is found in Ji Kang's Fu on the Guqin, where he wrote, “The inlays are made of jade from Zhongshan,” although the exact number of inlays is not specified. Early images of guqins with inlays can be seen in the Southern Dynasties' Qi and Liang tomb murals from Xishanqiao, Nanjing, depicting Ji Kang and Rong Qiqi playing guqins with more than ten visible inlays on the outer side of the instruments. In recent archaeological excavations, a lacquer plate depicting Ji Kang playing the guqin was unearthed, dating back to the Eastern Jin Dynasty. The image of Ji Kang and the guqin on the plate are almost identical to those in the Xishanqiao tomb murals. Additionally, Gu Kaizhi (c. 346–407), a painter from the Eastern Jin Dynasty, created a painting titled Making the Guqin, which depicts the scene of ancient literati making guqins. By this time, the guqin had undoubtedly taken on its mature form, characterized by its “integral hollow body, seven strings, two legs, and thirteen inlays.”