大約自西周晚期至東周初期開始，隨著新興的文化人階層——士的興起，琴開始被士用來伴唱《詩經》中大雅、小雅這類歌曲，琴又有了“雅琴”的稱號，孔子、伯牙、鄒忌等人就是當時最負盛名的士兼琴家。 “士無故不撤琴”，逐漸成為文人的時尚。
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry11 as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.
自先秦兩漢後，琴逐漸發展成為文人修身養性、陶冶情操、抒懷胸意、寄託願景，尋朋會友的必備樂器，琴樂所表達的內容越來越具有社會性、思想性和生活性，豐富而多彩。三國魏晉至南北朝之世，士人與琴之密切幾乎達到了頂峰，以嵇康、阮籍為首的“竹林七賢”最具代表性。
After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse and rich. Over time, qin music became mor
e societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties12, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference13, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.
琴從廟堂巫師、君王宮人逐漸走向士人、民間、社會、生活，反映出琴藝術的獨特魅力和永衡價值及其藝術生命力。卓文君聽琴遇司馬相如成百年好合，諸葛亮撫琴退司馬仲達演空城大計，顯示了琴在人們生活和社會活動中的特殊意義。
Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru14 and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic15, demonstrating the guqin has played a special part in our lives and in past societal conflicts.
古琴的指法之美
