文化有根 創意是伴 Bridging Creativity
香與琴
古琴是中國歷史最悠久的樂器了,古琴追求氣韻合一,彈琴不光是用手指頭彈,而且還要用氣,氣帶著指尖,琴者完全融入其中。
香天生就帶著純陽之氣,氣韻純正,撫琴時不可沒有香,沒了香就仿佛是天使缺少了一只翅膀,缺少點兒氣定神閑的感覺。古人彈琴離不開香,一個琴桌、一把琴凳,旁邊總少不了一個香幾,一只博山爐中悠悠地飄著婀娜的香煙,琴聲陣陣傳來,時而激蕩,時而婉轉,時而悠遠,時而切近,香煙隨著琴音,時快時慢,時而直沖上天,時而縹緲翻轉,每每觀看恰似一幅畫卷。
自從有了香爐,就有用香伴琴.無論春秋的孔子,戰國的俞伯牙,漢代的司馬相如,蜀漢的諸葛孔明,魏晉的竹林七賢,宋徽宗趙佶,清乾隆帝弘歷,文人官宦,現代之古琴大師,新入門生。無論高下,皆必以尊香爐,一炷香篆,青煙裊裊而上,抒幾曲琴韻。彈琴者陶陶於其中,聽琴者,脈脈作知音狀……
伴琴之爐兩漢用博山,唐宋用瓷爐,明清多用銅爐。現代人在很多雅集琴會時用琴爐相伴,瓷爐、銅爐都有,只是器型、品質都不甚講究,這也是一種遺憾。
自古“文房百器,爐為首器,文人百藝,琴為首藝”,二者相伴三千年,古人對其十分重視,今人雖有近二百年的文化斷代,但是也要重新開始重視起來。如果,在現今的琴會或者雅集上,琴者撫著唐宋之“太古”,旁邊伴著宣德之彜爐,琴音縹緲於殿堂,沈煙浮逸於呼吸,此情、此景、此韻該是何等的高雅!
琴爐的選擇有些要求:尺寸應在3寸以下;形制要文雅:沖耳爐、蚰耳爐、鼎爐、鬲式爐、橋耳爐、筒式爐、竹節爐、海棠爐等均可,不宜選擇方形,不宜選用戟耳爐,不宜選擇獸首金邊,不用出土冥器,不用奇形怪狀的,不用款識不佳或俗氣的;材質上可以選擇:銅、瓷、竹、木、玉、象牙等。
在香的選擇上,可以依據空間、時間來選擇。空間大就用濃郁些的香,空間小就用清淡些的香。從時間上分,上午要清淡,下午要提神,晚上要平靜。
愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.
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