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风宣玄品
《风宣玄品》明代古琴谱。朱厚爝辑于嘉靖十八年。
共十卷。前有朱厚爝自序及嘉靖十八年山西右布政使张鲲序文。卷一为琴论，论说古琴制度、弦、指法、调式等文字六十二则，手势图说一百五十四幅，文字转录了大部分宋代田芝翁《太古遗音》的琴论材料及《太音大全集》的琴论材料。卷二之卷十为琴谱，以调归类，共收一百零一曲，包括三十多首琴歌。
明代是中国古琴发展的重要时期，琴派众多，有浙派、虞山派、绍兴派等等。且名手云集，如徐和仲、黄献、严澄、徐青山、张岱等等。所刻琴谱也很多，在明代众多琴谱中，当数朱权的《神奇秘谱》、朱厚爝的《风宣玄品》、汪芝的《西麓堂琴统》等收集古曲多，最接近唐宋人古意。
本刊于明嘉靖十八年，徽藩刻本。此谱资料价值甚高，但流传较少。民国二十年江安传越凡曾照原刻本手抄一部，费时数年。除抄全部原文外，一五四幅图也全部手工绘制，抄写精细，绘图精美，可称是此谱的又一佳本。
共十卷。前有朱厚爝自序及嘉靖十八年山西右布政使张鲲序文。卷一为琴论，论说古琴制度、弦、指法、调式等文字六十二则，手势图说一百五十四幅，文字转录了大部分宋代田芝翁《太古遗音》的琴论材料及《太音大全集》的琴论材料。卷二之卷十为琴谱，以调归类，共收一百零一曲，包括三十多首琴歌。
明代是中国古琴发展的重要时期，琴派众多，有浙派、虞山派、绍兴派等等。且名手云集，如徐和仲、黄献、严澄、徐青山、张岱等等。所刻琴谱也很多，在明代众多琴谱中，当数朱权的《神奇秘谱》、朱厚爝的《风宣玄品》、汪芝的《西麓堂琴统》等收集古曲多，最接近唐宋人古意。
本刊于明嘉靖十八年，徽藩刻本。此谱资料价值甚高，但流传较少。民国二十年江安传越凡曾照原刻本手抄一部，费时数年。除抄全部原文外，一五四幅图也全部手工绘制，抄写精细，绘图精美，可称是此谱的又一佳本。
Unknown Binding
Published January 1, 1539
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July 11, 2021
A wonderful, fun read. This is a book that compiles many old sheet music of Chinese ancient piano (古琴). See an excerpt of the illustrations in the book here: https://www.bilibili.com/s/video/BV1f...
There are quite a few interesting observations that can be drawn from the book:
1) The way that ancient Chinese pianist records music is quite an interesting word innovation (see, for example, page 65 in the book):
There is a pseudo-Chinese character for each sound to play. The character is an innovative combination of a logogram of the finger action of the pianist, and the index of the string to play for that sound. The character has the left hand instructions as the top part of it, and the right hand instructions as the bottom part. Then all four elements (right hand finger action, right hand string index, left hand finger action, and left hand string index) are mixed together in a harmonious way in a character. Chinese intro: 一个谱字分成2大部分四小部分，2大部分是上部和下部，上部指左手，下部指右手。上部分左右两个小部分，左部指哪个手指，右部指哪根弦。下部分内外两部分，内是指哪根弦，外是指哪个手指用什么方法弹。另外在很少的几种情况下，下外部也指明左手的一些指法，比如绰、注。基本就是这样，然后在这个基础上加一些变化、简化。
This seems to be the source of inspiration for the modern artist Xu Bing, who created the art work "A Book from the Sky" (析世鉴-天书) 1987-1991 full of unreadable Chinese characters like this ancient piano sheet music (古琴减字谱).
2) From the motivational excerpt above, we can find there to be a strong trend of interpreting finger techniques as natural phenomenon. In the book, it describes the hand with five fingers as if phenix flying with multiple long tails (2:23 of the video). The action of slight twisting the string with the thumb and index figure resembles a crane looking up (2:42). Such analogy looks like it stems from the Taoism idea of the oneness between man and nature. So the more the artist can draw close to the nature, the more beautiful the music becomes. And the artists try to feel the spirituality behind simple actions.
After a simple search, there are papers arguing for exactly the same point: 《明清古琴譜中「指法手勢圖」的樂象意涵》. See page 9 which even "draws" the difference of similar finger techniques by shapes of water waves.
Check out the beautiful names that uses metaphor to teach how the finger technique should be, e.g., 風送清雲式（半扶）：冉冉溶溶，聚氣而成，油然而起，勢逐風輕，喻度指之如雲，不慾重而有聲 (Page 69); 寒蟬吟秋式（吟、細吟）：翼而鳴者，惟蟬知時，秋高氣肅，長吟愈悲，審夫聲而聚喻，當即意以求之 (Page 77).
Criteria of painting that can also be applied to music: “神、妙、能、逸”
3) Beautiful poetic names of the ancient music pieces (many of which corresponds to historical stories, Taoism spirituality about the oneness between man and nature, famous poems and proses, etc):
- Freedom + harmony with nature: 阳春, 广寒游, 酒狂, 梅花三弄, 一撒金, 高山, 流水, 玄默, 雁过衡阳, 山居吟, 渭滨吟, 佩兰, 雉朝飞, 乌夜啼, 泽畔吟, 华胥引, 飞鸣吟, 秋鸿, 潇湘水云, 泛沧浪, 寄情操, 渔歌, 听琴赋, 瀛洲, 猿鹤双清, 长清, 神游六合, 忘机, 阳关, 黄云秋塞, 大胡笳, 颐真, 秋月照茅亭, 八极游, 蔡氏五弄, 风入松, 南风歌, 醉翁吟, 风雷引, 猗兰, 古交行, 天风环佩, 广寒秋, 春江, 白雪, 鹤鸣九皋, 广陵散, 凌虚吟, 神化引, 遁世操
- Historical stories: 禹会涂山, 文王思舜, 列子御风, 屈原问渡, 招隐, 伯牙吊子期, 庄周梦蝶, 圯桥进履, 李陵思汉, 昭君出塞, 大明一统,
- Adaptations from famous Literature: 关雎, 大雅, 离骚, 楚歌, 归去来辞, 陋室铭, 前赤壁赋, 后赤壁赋
- Emotional / normative / secular life: 山中思友人, 正气歌, 八公操, 思贤操, 隐德, 文君操, 将归操, 越裳操, 履霜操, 获麟, 思亲操, 古风操, 客窗夜话, 雪窗夜话, 湘妃怨, 慨古曲, 捣衣曲, 归耕, 樵歌.
Other nice music names (not necessarily in this book):
猿鹤双清, 雁过衡阳--当空万里, 泽畔吟, 阳关三叠, 龙归晚洞, 御风行, 樵歌, 清商意, 山居吟, 梅花引, 清都引
----
More readings:
- Overview of all kinds of different music compilation books of ancient Chinese piano: 古琴譜字分類及節奏性指法之研究――以“鎖”系中兩種指法為例
- Different shapes of ancient Chinese piano: 试论“历代琴式”的变化──兼及故宫博物院落霞式古琴的断代
There are quite a few interesting observations that can be drawn from the book:
1) The way that ancient Chinese pianist records music is quite an interesting word innovation (see, for example, page 65 in the book):
There is a pseudo-Chinese character for each sound to play. The character is an innovative combination of a logogram of the finger action of the pianist, and the index of the string to play for that sound. The character has the left hand instructions as the top part of it, and the right hand instructions as the bottom part. Then all four elements (right hand finger action, right hand string index, left hand finger action, and left hand string index) are mixed together in a harmonious way in a character. Chinese intro: 一个谱字分成2大部分四小部分，2大部分是上部和下部，上部指左手，下部指右手。上部分左右两个小部分，左部指哪个手指，右部指哪根弦。下部分内外两部分，内是指哪根弦，外是指哪个手指用什么方法弹。另外在很少的几种情况下，下外部也指明左手的一些指法，比如绰、注。基本就是这样，然后在这个基础上加一些变化、简化。
This seems to be the source of inspiration for the modern artist Xu Bing, who created the art work "A Book from the Sky" (析世鉴-天书) 1987-1991 full of unreadable Chinese characters like this ancient piano sheet music (古琴减字谱).
2) From the motivational excerpt above, we can find there to be a strong trend of interpreting finger techniques as natural phenomenon. In the book, it describes the hand with five fingers as if phenix flying with multiple long tails (2:23 of the video). The action of slight twisting the string with the thumb and index figure resembles a crane looking up (2:42). Such analogy looks like it stems from the Taoism idea of the oneness between man and nature. So the more the artist can draw close to the nature, the more beautiful the music becomes. And the artists try to feel the spirituality behind simple actions.
After a simple search, there are papers arguing for exactly the same point: 《明清古琴譜中「指法手勢圖」的樂象意涵》. See page 9 which even "draws" the difference of similar finger techniques by shapes of water waves.
Check out the beautiful names that uses metaphor to teach how the finger technique should be, e.g., 風送清雲式（半扶）：冉冉溶溶，聚氣而成，油然而起，勢逐風輕，喻度指之如雲，不慾重而有聲 (Page 69); 寒蟬吟秋式（吟、細吟）：翼而鳴者，惟蟬知時，秋高氣肅，長吟愈悲，審夫聲而聚喻，當即意以求之 (Page 77).
Criteria of painting that can also be applied to music: “神、妙、能、逸”
3) Beautiful poetic names of the ancient music pieces (many of which corresponds to historical stories, Taoism spirituality about the oneness between man and nature, famous poems and proses, etc):
- Freedom + harmony with nature: 阳春, 广寒游, 酒狂, 梅花三弄, 一撒金, 高山, 流水, 玄默, 雁过衡阳, 山居吟, 渭滨吟, 佩兰, 雉朝飞, 乌夜啼, 泽畔吟, 华胥引, 飞鸣吟, 秋鸿, 潇湘水云, 泛沧浪, 寄情操, 渔歌, 听琴赋, 瀛洲, 猿鹤双清, 长清, 神游六合, 忘机, 阳关, 黄云秋塞, 大胡笳, 颐真, 秋月照茅亭, 八极游, 蔡氏五弄, 风入松, 南风歌, 醉翁吟, 风雷引, 猗兰, 古交行, 天风环佩, 广寒秋, 春江, 白雪, 鹤鸣九皋, 广陵散, 凌虚吟, 神化引, 遁世操
- Historical stories: 禹会涂山, 文王思舜, 列子御风, 屈原问渡, 招隐, 伯牙吊子期, 庄周梦蝶, 圯桥进履, 李陵思汉, 昭君出塞, 大明一统,
- Adaptations from famous Literature: 关雎, 大雅, 离骚, 楚歌, 归去来辞, 陋室铭, 前赤壁赋, 后赤壁赋
- Emotional / normative / secular life: 山中思友人, 正气歌, 八公操, 思贤操, 隐德, 文君操, 将归操, 越裳操, 履霜操, 获麟, 思亲操, 古风操, 客窗夜话, 雪窗夜话, 湘妃怨, 慨古曲, 捣衣曲, 归耕, 樵歌.
Other nice music names (not necessarily in this book):
猿鹤双清, 雁过衡阳--当空万里, 泽畔吟, 阳关三叠, 龙归晚洞, 御风行, 樵歌, 清商意, 山居吟, 梅花引, 清都引
----
More readings:
- Overview of all kinds of different music compilation books of ancient Chinese piano: 古琴譜字分類及節奏性指法之研究――以“鎖”系中兩種指法為例
- Different shapes of ancient Chinese piano: 试论“历代琴式”的变化──兼及故宫博物院落霞式古琴的断代
Displaying 1 of 1 review