欧阳修之琴缘、琴境、琴用

A Discussion on Ouyang Xiu's Pre-destined Relationship,State and Practical Function of Qin

欧阳修一生与琴相随相伴,琴缘甚深,是宋代文人琴之典型。他是宋代"江西琴派"代表人物,提倡以辞入曲、既弹且唱之琴歌,与其颇具渊源的琴歌《醉翁吟》是江西谱的代表作。欧阳修所追求之古琴意象、意境为"古境"。其"古"之琴境有层次之别、内涵之别,主要内涵为中正平和的儒家精神,也具超尘脱俗的禅道逸趣。对于古琴功用,注重琴悦对自已身心的安顿与调适,亦推及于人,重视古琴的乐教功能。

All through his life, Ouyang Xiu had a deep pre-destined relationship with qin and was regarded as the model of qin-lover among literati in the Song Dynasty. As a representative of “Jiangxi School of Qin”, he advocated the qin-song, characterized by the integration of lyrics with music. The qin-song of “Zui Weng Yin”, which has a close relationship with Ouyang Xiu, is the representative artwork of Jiangxi tablature. In fact, Ouyang Xiu used the word “ancient”to interpret the imagery and artistic conception of qin music. Full of connotations, “ancient”mainly refers to the idea of virtue, and it also symbolizes transcendence, infinity and eternity. As for the practical function of qin, Ouyang Xiu laid emphasis on settlement and adjustment of his body and mind, as well as on public moral education.