原文

鼓琴

唐末，连州陈用拙善鼓琴，著有《琴籍》十卷，载琴家论议操名及古帝王名士善琴者，以古调无徵音，乃补新徵音，谓商即徵音云。宋英德石汝砺亦善琴，所言乐律一以琴为准，著《碧落子琴断》一卷，郑樵最称之。二书惜皆不传。明南海陈元诚制六虚琴，准古协度，以雷张自况。白沙先生雅好琴，尝梦抚石琴，其音泠泠，有一伟人笑谓曰：“八音中惟石音难谐，今子谐若是，异日其得道乎？”先生因自称石斋。有诗云：“寄语了心人，素琴本无弦”。予为作《石琴歌》云：“端州白石天下稀，声含宫商人不知。斫就瑶琴长四尺，轻如一片番流离。石音最是难调者，碧玉老人能大雅。由来太古本无弦，不是希声知者寡。无弦吾欲并无琴，琴向高山流水寻。人籁岂如天籁好，空中写出太初心”。石琴今在江门，碧玉老人，先生所自号也。

邝湛若有琴曰“南风”，宋理宗物也，又有绿绮台，先朝武宗皇帝御琴，而唐武德年所制者也，其游辄与二琴俱。有西湖修琴社及琴酌送羽人诗，他所咏亦多言琴。平生喜畜古器玩好，贫则以质子钱家。俗谓质曰当，当主例付票以为验，故湛若有前当票序、后当票序，视其目，皆奇器也。而二琴亦时出入质家，有诗云：“三河十上频炊玉，四壁无归尚典琴”。庚寅城破，以二琴及宝剑、怀素真绩等环置左右而死，意若殉焉。越人莫不伤之，有为抱琴歌以吊者曰：“抱琴而死兮当告谁，吁嗟琴兮当知之”。湛若既殉难，绿绮台为马兵所得，以鬻于市。惠阳叶锦衣见而叹曰：“噫嘻！是毅皇帝御琴也”。解百金赎归。暇日泛舟丰湖，出以相示，予抚之流涕，因为长歌，有云：“中书乃自刘家得，似捧乌号泪沾臆。珍重君王手泽余，大弦小弦日拂拭。时飞纤指理南风，仿佛重华见颜色”。又云：“城陷中书义不辱，抱琴西向苍梧哭。嵇康既绝太平引，伯喈亦断清溪曲。一缕肠萦寡女丝，三年血变钟山玉。可怜此琴遂流落，龙唇凤嗉归沙漠。蔡女胡笳相惨凄，王昭琵琶共萧索。叹君高义赎兹琴，黄金如山难比心。我友忠魂今有托，先朝法物不同沉。”

南海陈拾遗善琴，有一古琴，不知其斫自唐代也。有客为言，向于某家见此琴，刻有“大历四年”四字，今底池旁惟新漆一方，盖旧漆剥去，字无存矣。于是拾遗欣然知琴之岁。为诗云：“端居珍所尚，三叹少知音。不遇丁年友，那称大历琴”。

白话

中文

弹奏古琴

唐朝末年，连州人陈用拙擅长弹琴，著有《琴籍》十卷，记载了琴家的论述、琴曲名以及古代善于弹琴的帝王名士。他认为古调中缺少徵音（五音“宫商角徵羽”之一），于是补充了新的徵音，认为商音就是徵音（此说法可能有误或需考证）。宋代英德人石汝砺也擅长弹琴，他谈论乐律都以琴声为标准，著有《碧落子琴断》一卷，郑樵（宋代史学家）最为推崇。可惜这两部书都没有流传下来。明代南海人陈元诚制作了名为“六虚”的琴，规格合乎古制法度，他自比为唐代制琴名家雷威、张越。陈白沙先生（陈献章）非常喜爱古琴，曾梦见自己弹奏石制的琴，琴声清脆悦耳，有一位样貌不凡的人笑着对他说：“金、石、丝、竹、匏、土、革、木这八类乐器中，石音最难和谐，现在你能让它如此和谐，将来或许能得道吧？”先生因此自号“石斋”。他有诗写道：“告诉那些明了心性的人，质朴的琴本来就不需要琴弦。”我（屈大均）为他作了一首《石琴歌》说：“端州的白石天下稀有，（制成琴后）蕴含宫商之声却无人知晓。砍削成四尺长的瑶琴，轻得像一片异域的琉璃。石音是最难调和的，（但）碧玉老人（陈白沙号）能弹出高雅的乐章。自古以来最好的音乐本就没有弦，不是因为声音微弱而知音稀少。（若说）无弦，我更希望连琴也没有，（真正的）琴意要向高山流水那样的大自然中去寻找。人间的音乐哪里比得上自然的妙音？那才是在虚空中书写出的最初本心。”这石琴如今在江门，碧玉老人是先生自己的号。

邝湛若有两张珍贵的琴，一张名为“南风”，是宋理宗的旧物；另一张名为“绿绮台”，是明武宗皇帝的御用琴，并且是唐代武德年间（618-626）制作的。他外出游历总是带着这两张琴。他写有关于西湖修琴社以及弹琴饮酒送别道士的诗，其他诗作中也常常提到琴。他平生喜欢收藏古董器物和珍玩，贫困时就把它们抵押给钱庄。当时俗称抵押为“当”，当铺主人照例会开出票据作为凭证，所以邝湛若写有《前当票序》、《后当票序》，看他所列的物品目录，都是奇珍异宝。而这两张琴也时常出入当铺，他有诗写道：“（为了生活）在三河（地名，或泛指多处）十次上京，屡屡典当炊具（‘炊玉’或指珍贵物品），家徒四壁无以为继，仍然要典当古琴。”庚寅年（1650年）广州城被清兵攻破，邝湛若将这两张琴以及宝剑、怀素（唐代书法家）的真迹等环绕放置在自己身边，然后自尽，像是为这些珍宝殉节。广东人没有不为此伤感的，有人作《抱琴歌》凭吊他说：“抱着琴死去啊能告诉谁呢？唉，这琴应当知道（主人的心意）吧！”邝湛若殉难后，“绿绮台”琴被一个骑兵得到，拿到市上贩卖。惠阳的叶锦衣（叶绍袁，官职为锦衣卫）见到后感叹道：“唉！这是毅皇帝（明武宗）的御用琴啊！”于是用一百两银子把它赎了回来。闲暇时在丰湖（惠州西湖）上泛舟，叶锦衣拿出琴给我看，我抚摸着琴不禁流下眼泪，于是作了一首长歌，其中有几句是：“中书（指邝湛若）是从刘家得到此琴，（我如今抚琴）就像捧着（古代帝王的）乌号（宝弓）一样泪湿胸襟。珍重啊这是君王留下的手泽，每天都要拂拭它的大弦小弦。时而快速拨动手指弹起《南风》曲，仿佛又见到了重华（舜帝，传说作《南风》歌）的容颜。”又有几句是：“城池陷落，中书（邝湛若）坚守大义不受屈辱，抱着琴向西朝着苍梧（舜帝葬地，亦指南明永历帝所在方向）痛哭。嵇康（临刑）弹完了《广陵散》（一作《太平引》），蔡邕（伯喈）也断绝了《清溪曲》。一缕愁肠像是缠绕着寡妇的丝线，三年的碧血化作了钟山的美玉。（殉国忠魂之意感动天地）可怜这张琴于是流落民间，琴头琴尾（龙唇凤嗉）流落到了北方（沙漠，指清兵统治区）。如同蔡文姬的胡笳那样悲惨凄凉，如同王昭君的琵琶一样寂寞萧索。感叹您（叶锦衣）高尚的义举赎回这张琴，即使黄金堆积如山也难比这份心意。我的朋友（邝湛若）的忠魂如今有了寄托，前朝的法物（御琴）不至于一同沉沦。”

南海的陈拾遗（陈恭尹）擅长弹琴，他有一张古琴，不知道是唐代制作的。有位客人告诉他，以前曾在某户人家见过这张琴，琴上刻有“大历四年”（769年）四个字，现在琴底龙池旁边只有一块新刷的漆，想必是旧漆剥落时把字迹也弄没了。于是陈拾遗高兴地知道了自己这张琴的年代。他为此作诗道：“闲居在家珍惜所崇尚的（古琴），再三感叹缺少知音。若不是遇到这位多年的朋友（丁年友，或指鉴定者），怎么能称它为大历年间的琴呢！”

英文

Playing the Qin

In the late Tang Dynasty, Chen Yongzhuo from Lianzhou was skilled at playing the Qin (a Chinese zither). He authored the ten-volume "Qin Records" (Qinjí), documenting discussions by Qin masters, names of Qin pieces, and ancient emperors and famous scholars skilled in the Qin. Believing the ancient scale lacked the zhi note (the fourth note in the pentatonic scale), he supplemented it with a new zhi note, stating that the shang note (the second note) was essentially the zhi note (this statement might be inaccurate or requires verification). During the Song Dynasty, Shi Ruli from Yingde was also proficient in the Qin. His discussions on musical temperament were all based on the Qin's standard. He wrote the one-volume "Master Biluo's Qin Judgments" (Biluozi Qinduan), highly praised by Zheng Qiao (a Song historian). Unfortunately, both books are lost. In the Ming Dynasty, Chen Yuancheng from Nanhai crafted the "Six Emptiness" Qin (Liuxu Qin), conforming to ancient standards and dimensions, comparing himself to the famed Tang Qin makers Lei Wei and Zhang Yue. Mr. Chen Baisha (Chen Xianzhang) deeply loved the Qin. He once dreamt of playing a Qin made of stone, its sound clear and melodious. An imposing figure smiled and said to him, "Among the eight kinds of musical instruments (metal, stone, silk, bamboo, gourd, earth, hide, wood), the stone sound is the most difficult to harmonize. Now that you harmonize it so well, perhaps you will attain the Dao in the future?" Consequently, Mr. Chen called himself "Stone Study" (Shizhai). He wrote a poem: "Tell those who understand the mind, the simple Qin inherently has no strings." I (Qu Dajun) wrote the "Song of the Stone Qin" (Shi Qin Ge) for him: "White stone from Duanzhou is rare in the world; its sound holds gong and shang notes, yet people don't know. Carved into a precious Qin four chi long, light as a piece of foreign glass (liuli). Stone sound is the hardest to tune, (but) the Old Man of Jade Green (Chen Baisha's sobriquet) can play great elegance. Since great antiquity, there were originally no strings; it's not that the 'soundless sound' (xisheng) has few who understand. If 'stringless,' I wish for 'Qin-less' too; the Qin's meaning is sought in high mountains and flowing water (nature). How can human music compare to nature's sounds? It writes the primal mind (taichu xin) in the void." This Stone Qin is now in Jiangmen; Old Man of Jade Green was Mr. Chen's self-chosen name.

Kuang Zhanruo possessed two precious Qins. One was named "South Wind" (Nanfeng), formerly belonging to Emperor Lizong of the Song Dynasty. The other was "Green Silk Terrace" (Lüqi Tai), a personal Qin of Emperor Wuzong of the previous (Ming) dynasty, made during the Wude era (618-626) of the Tang Dynasty. He always traveled with these two Qins. He wrote poems about the West Lake Qin Repairing Society and about playing Qin and drinking while seeing off a Daoist priest; his other poems also frequently mention the Qin. He loved collecting ancient artifacts and curios throughout his life. When impoverished, he would pawn them at money houses. Pawning was commonly called dang, and the pawnbroker would issue a ticket (piao) as proof. Thus, Zhanruo wrote a "Preface to the Former Pawn Ticket" and a "Preface to the Latter Pawn Ticket"; judging by the listed items, they were all extraordinary artifacts. The two Qins also frequently went in and out of pawnshops. He had a poem saying: "(To survive) frequently pawned valuables ('cooking jade') while traveling extensively ('three rivers, ten ascents'); with nothing left at home ('four bare walls'), still had to pawn the Qin." In the gengyin year (1650), when Guangzhou fell (to Qing forces), Kuang Zhanruo placed these two Qins, a precious sword, and an authentic calligraphy work by Huaisu around himself and committed suicide, seemingly dying for these treasures. The people of Yue (Guangdong) all mourned him. Someone composed the "Song of Embracing the Qin" (Bao Qin Ge) to lament him, saying: "Embracing the Qin in death, ah, whom can he tell? Alas, Qin, ah, you should know (your master's heart)!" After Zhanruo died a martyr, the "Green Silk Terrace" Qin was obtained by a cavalryman and sold in the market. Ye Jin Yi (Ye Shaoyuan, holding the rank of Jin Yi Wei) from Huiyang saw it and sighed: "Alas! This is Emperor Yi's (Emperor Wuzong's posthumous title) personal Qin!" He redeemed it for one hundred taels of gold. On a leisure day boating on Feng Lake (West Lake in Huizhou), Ye showed the Qin to me. I touched it and wept, then composed a long song, which included lines like: "The Secretary (Kuang Zhanruo) obtained it from the Liu family; (touching it now) is like holding the legendary Wuhao bow, tears soaking my chest. Treasure this remnant touch of the emperor; stroke its large and small strings daily. Sometimes swiftly moving slender fingers to play 'South Wind,' as if seeing the countenance of Chonghua (Emperor Shun) again." And other lines: "When the city fell, the Secretary upheld righteousness, unyielding; embracing the Qin, he wept facing west towards Cangwu (Emperor Shun's burial place, also direction of the Southern Ming court). Ji Kang had already ceased playing 'Great Peace Melody' (Taiping Yin), Cai Yong (Bojie) also silenced his 'Clear Stream Tune' (Qingxi Qu). A thread of sorrow entwines like a widow's silk; three years of blood transformed into Zhongshan jade (symbolizing loyalty recognized after death). Pitifully, this Qin then drifted; its dragon lips and phoenix soundbox (parts of the Qin) ended up in the desert (north, under Qing rule). Like Cai Wenji's Tartar pipe, so mournful; like Wang Zhaojun's Pipa, equally desolate. I praise your noble act, sir, redeeming this Qin; gold piled like mountains cannot compare to your heart. My friend's loyal soul now has a place to rest; this former dynasty's ritual object did not perish with it."

Chen Shiyi (Chen Gongyin) from Nanhai was skilled at the Qin. He owned an ancient Qin but did not know it was made in the Tang Dynasty. A guest told him that he had previously seen this Qin at someone's home, and it was inscribed with the four characters "Dali Si Nian" (Fourth Year of the Dali Era, 769 AD). Now, beside the sound pool (longchi) on the Qin's underside, there was only a patch of new lacquer; presumably, the old lacquer had peeled off, taking the inscription with it. Thus, Shiyi joyfully learned the age of his Qin. He wrote a poem about it: "In quietude, I cherish what I esteem (the Qin); sighing thrice for the lack of connoisseurs. Had I not met this friend of many years (or discerning friend), how could I call it a Dali-era Qin?"

文化解读/分析

本条目集中记述了广东地区（以连州、英德、南海、江门等地为代表）自唐末至明末清初的古琴文化传承与相关人物事迹，具有丰富的文化内涵和民俗价值：

1. 岭南琴学的历史脉络：文章追溯了唐末陈用拙、宋代石汝砺等早期岭南琴家及其著述（虽已失传），明确了广东地区悠久的古琴传统。明代陈元诚的制琴、陈白沙的爱琴与琴论、邝湛若的藏琴与殉琴、陈恭尹的藏琴与考证，共同构成了明清之际岭南琴学的重要篇章。
2. 琴与文人精神：古琴在中国传统文化中不仅是乐器，更是文人士大夫修身养性、寄托情怀的重要载体。陈白沙梦抚石琴、自号石斋，并提出“素琴本无弦”的哲学观点，将其心学思想与琴道相融合，追求超越形式的“太初心”和“天籁”境界。邝湛若宁死不弃宝琴、名迹，体现了文人对文化珍宝的极致热爱与忠于故国（明朝）的刚烈气节。彭伯时（见“诸家画品”条）不为强权作画，与邝湛若抱琴殉国，均展现了岭南文人的风骨。
3. 古琴的文化象征与传奇色彩：文中提及的几张琴都带有传奇色彩。“石琴”源于陈白沙的梦境与哲学思考；邝湛若的“南风”琴为宋理宗遗物，“绿绮台”琴更是唐代制作、明武宗御用，承载着丰富的历史信息和帝王印记。这些名琴的流传、易主（如“绿绮台”被清兵夺走后由叶绍袁赎回），本身就是历史变迁的缩影。屈大均抚琴流涕、作长歌，更是将个人情感、家国情怀与古琴的命运紧密联系起来。
4. 鉴藏文化与民俗生活：邝湛若“喜畜古器玩好”，甚至不惜“频炊玉”、“典琴”来维持生计和收藏，反映了明末文人圈中盛行的鉴藏风气。典当古琴、宝物并为当票作序，是当时社会经济生活和文人雅趣结合的一个侧面。陈恭尹通过友人考证得知自家古琴为唐代“大历四年”所制，体现了对古物年代考证的重视，也反映了古琴作为传家宝或收藏品在民间的流传。
5. 音乐理论与实践：提及陈用拙“补新徵音”，石汝砺“以琴为准”论乐律，虽语焉不详且著述已佚，但仍透露出古代琴家在乐理、律学方面的探索。陈白沙的“石音难谐”与“能大雅”，则涉及演奏技艺与音乐表现力的问题。

关键词

鼓琴, 古琴, 琴学, 岭南琴学, 广东音乐, 陈用拙, 琴籍, 石汝砺, 碧落子琴断, 陈元诚, 六虚琴, 陈献章, 陈白沙, 石斋, 石琴, 无弦琴, 邝湛若, 南风琴, 绿绮台琴, 宋理宗, 明武宗, 唐代古琴, 大历四年, 典当, 殉国, 抱琴歌, 叶绍袁, 陈恭尹, 陈拾遗, 屈大均, 广东新语, 艺语, 文人精神, 鉴藏, 古董, 怀素, 殉节, 明末清初, 广州城破