唐、宋琵琶藝術之盛，可說是充分反映在唐詩、宋詞中，無論是技藝高超之演奏家、琵琶與其他樂器合奏之盛況，抑或琵琶形制與裝飾工藝之精美，皆可透過文人之生花妙筆，想像琵琶藝術於視覺或聽覺上引發之種種感受。 然而，相較於琵琶演奏者之技法以及琵琶音樂感染力，或琵琶與他種樂器合奏之研究，彈奏者細膩之演奏情態，或因樂器部件之華美彩繪而引發之種種聯想，乃係研究者較不重視者；以唐、宋文人描寫琵琶之詩、詞而言，常可於相關作品中見到「金鳳」一詞，例如李紳〈悲善才〉之「銜花金鳳當承撥」、薛逢〈聽曹剛彈琵琶〉之「不知天上彈多少，金鳳銜花尾半無」、歐陽炯〈春光好〉之「纖指飛翻金鳳語」、張先〈翦牡丹‧舟中聞雙琵琶〉之「金鳳響雙槽」、晏殊〈木蘭花〉之「入破錚琮金鳳戰」等。 但歷來罕見研究者對此詞與琵琶之關聯，作深入論述或合理解釋，縱使偶然見到此詞之註解，亦僅有「琵琶之技法」、「琵琶之代指」、「琵琶上裝飾」等簡略釋義，但此類說法不僅過於含糊籠統，且無法詮解相關作品。 是故，本文透過唐、宋琵琶詩、詞之整理歸納，並結合唐、宋音樂文物、琵琶形制之考察，以及詩人寫作手法之推究，發現：唐、宋琵琶詩、詞中「金鳳」一詞，依上、下句文意，可能有「琵琶撥子之圖案」、「琵琶捍撥之圖案」以及「琵琶代稱」三種內涵，據此，遂得以指正前人說解之疑義，並還原唐、宋琵琶詩、詞中「金鳳」一詞之真意。

The popularity of the art of pipa in Tang and Song Dynasty was fully projected in the poems and lyrics of that period. The excellences of the skills conducted by the performers, its instrumental ensembles, or the physical features and crafted decorations of pipa, were all lively described and recorded through the hands of poets. Thus, readers could visually and audibly interrelate with the art of pipa of the period. Nevertheless, other than the abundant research of the performing skills, the emotional sensation from the music, and the instrumental ensembles of that period, researchers rarely focused on the poets’ imagination inspired from the expression of performers and the splendid features and graphics of the instrument itself. However, these detailed descriptions were significant for the poets at that time. And most of all, the term “golden phoenix” had been repeatedly appeared in the poems and lyrics for pipa of Tang and Song Dynasty, such as the works by Li Shen, Shua Fong, Ouyang Jon, Chang Shen, and Yan Chui. Although it is constantly appeared in the poems and lyrics for pipa, the explanation of the term in previous research were surprisingly neglected or ambiguously referred as “the performing technique of pipa”, or “indicating of pipa”, “the decoration of pipa”, which were not able to fully interpret the complete meaning of the works. Hence, this paper aims to reveal the possible meanings of the term “golden phoenix” in the poems and lyrics through examining the related cultural data of Tang and Song Dynasty. The result shows that, through the context of the poems and lyrics, three possibilities were included: “the graphics on the Boe-Tze”; “the graphics on the Han-Boe”; or “the indication of pipa”. According to the result, the actual meaning of “golden phoenix” in the poems and lyrics for pipa could be uncovered.