嵇康《琴賦》在效仿兩漢音樂賦的創作模式及經典語匯的基礎上,將駢儷之體與論說文風融入賦作,該賦體物神貌俱至、寄情清俊不俗。嵇康對于雅琴進行玄學化的描寫,并賦予琴文化以更為豐富的內涵。嵇康建構起"含至德之和平"的琴德論,對于先秦兩漢樂論、琴論有所繼承并推新。嵇康《琴賦》扭轉了兩漢琴論以悲為美的風尚,從傳統儒家樂論中重塑以和為貴的觀念;同時擺脫了儒家琴論正心修身的教化觀,將道家聲無哀樂論引入其中,突出音樂的自然特性以及導養娛情的現實功效。古今中外文士對于嵇康《琴賦》的研讀、欣賞與慨嘆,豐富了文本的意義空間,使其琴德可感、文心可見。

Based on the classic vocabulary of music fu’s creative mode in the Han dynasty,Ji Kang’s"Qin Fu"integrated the parallel prose and the argumentation into the work of the fu. Ji Kang gave yaqin metaphysical description,thus bringing the qin culture a richer content. He proposed a qin ethics of"peace virtue",which was an innovation based on the music theory tradition of the pre-Qin and Han dynasties. Ji Kang’s"Qin Fu"reversed the trend of sadness beauty in the Han dynasty,and reinstated the idea of harmony from traditional Confucian music theory; it dispensed with the Confucian qin theory which emphasized didactic self-cultivation. In the meantime,he brought in the Taoist idea that no music is sorrowful,thus highlighting music’s natural characteristics and practical function of self-cultivation and entertainment. The study,admiration,appreciation of Ji Kang’s essay by posterities across the world have enriched its meaning,so that its moral can be felt,and its essence can be seen.