自先秦兩漢以來，古琴以修身養性為理想，始終是琴人奉行不渝的圭臬，然琴道的意涵隨著魏晉道玄之風的影響，已在教化為主導的前提下步步地轉出，魏晉時期之古琴藝術在琴論、琴詩、琴文、琴史與琴曲等材料中可見，已開始呈現自覺的審美意識，如「清」、「和」、「微」、「虛」、「遠」等。其中尤以關於「和」之審美意識的材料最多，這些材料幾乎都集中在嵇康〈琴賦〉一文，文中提出透過撫琴操縵的實踐歷程，可使琴與人和，人與天地大自然和諧為一，是嵇康賦予「和」之審美範疇的新觀點，而開展出魏晉藝術美學的高明面。今本文即在探析嵇康〈琴賦〉中「和」的美學意涵，以見嵇康如何透過撫琴操縵的實踐歷程，以呈現人生修養的智慧，進而體現人之身心靈與天地大自然妙契之道。

“Qin Dao” was the way of the art of Guqin during the Han dynasty, the ideal of self-cultivation has always been regarded as the function of Guqin. However the significance of “Qin Dao” was affected by the transcendental mysticism of the Wei & Tsin dynasties. The Guqin
players turned to appreciation of the communication between self and Nature. As a result, there was self-consciousness about the appreciation of the beauty of the art of Guqin which appeared in some important essays, poems and scores. It is thus clear that the significance of “Qin Dao” in the Wei & Tsin dynasties had evolved.During the Wei & Tsin dynasties, “harmony” was a particularly important concept inspiring
the appreciation of the art of Guqin. Such appreciation was recorded in the essays and poems of Hsi-Kang. This paper aims to research the aesthetics of Guqin as recorded by Hsii-Kang, focusing on the significance of “harmony” in Hsi-Kang’s Qin Fu. The author will reveal how Hsi-Kang communicated self and Nature by the Guqin, as a result, there was self-consciousness about the appreciation of the beauty of the art of Guqin in the Qin Fu (Poetical Essay on the Qin).