琴心禅境--《溪山琴况》之禅学意蕴及琴禅关系再思考

Aesthetic Mind of Guqin and Chan State--Reflections on the Chan Connotation and the Relation between Guqin and Chan in Xishan Qinkuang

《溪山琴况》的琴学思想有明显的禅学意蕴。审美心胸"清和""恬澹""雅静",与禅宗渐修心法一脉相通。借琴悟禅、由琴妙悟,传达了禅宗"悟"的文化内涵。琴人崇尚自然山水,与禅者自然山林之趣一致。琴中"不味而味"的恬澹趣味是与禅宗的"平淡"趣味相近。所追求的"古""远""逸"古琴意境与永恒、无限、自由之禅境相通。《溪山琴况》集中体现了"道禅之琴",此风延续至今。今之琴应在群众庶、合众器、通人我以雅俗共赏方面进一步努力,方是回归禅宗真意,继承优秀琴学传统。

The ideology of Xishan Qinkuang obviously embodies Chan thought.The aesthetic mind of“peace”,“tranquility”,“elegance”,“serenity”is closely related to gradual training of Chan.Through Guqin we can under⁃stand Chan,which conveys enlightment of Chan.Guqin players prefer to nature,which is consistent with Chan masters’interest in natural mountains and forests.The quiet and calm taste of guqin players is the embodiment of Chan philosophy and Chan interest.“Yi(transcendence)”illustrates the state of feeling ethereal and distant,which signifies Chan State.Xishan Qinkuang embedded with the philosophy of both Taoism and Chan,its style continues to present day.Guqin in modern times should be“elegant and secular”,making further efforts in the aspects of suit both refined and popular taste.