请问有没有太子妃升职记的bai du yun zi yuan_百度知道
请问有没有太子妃升职记的bai du yun zi yuan
我有更好的答案
《太子妃升职记》是2012年在万卷出版公司出版的言情小说，该书作者是鲜橙。 小说讲述了为了弥补工作失误，司命星君将现代男人陈然的灵魂偷偷从地府带出，附身到“落水身亡”的南夏太子妃张芃芃身上的故事。 内容简介 这天上掉下来的是馅饼还是陷阱？ 丈夫不喜，婆婆不爱，男人心女人身的张芃芃如何才能从“太子妃”一路顺利地升职为“太后”？ 这是一个“女人”在后宫的奋斗史…… 同时，也是一个“男人”在后宫的苦难史…… 谁人不知这太子妃乃是天下最不好做的行当： “太子妃”的职业分析： 　　第一：升职前景堪忧 　　太子妃—皇后—太后，时间跨度大，难度极高。 　　第二：劳动没有保障 　　三险一金没有，随时可能被辞退，辞退后不允许再就业！ 　　第三：工作性质危险 　　随时都有死亡的危险，太子称...
有百~度~云~资~源吗？谢谢
其他类似问题
为您推荐：
等待您来回答
下载知道APP
随时随地咨询
出门在外也不愁Qin Shi Bu
   
Qin Shi Bu (Supplement to History of the Qin, 1919)
(1864 - 1933)
Published in 1919, these 115 biographical essays supplement the 146 biographical essays of Zhu Changwen's 11th century . As with the earlier work, this one includes legends and biographies from the earliest days of the qin up to the mid-eleventh century CE. Twelve concern women players.
The first six entries concern people said to have lived even earlier than the earliest people mentioned in . These are followed by stories which become more historical the later their date. Unlike Zhu Changwen, Zhou Qingyun gives the sources for much of his information. The entries consist mostly of quotes or paraphrases from these earlier sources, with little commentary or analysis from Zhou Qingyun.
Very few of these sources have been translated elsewhere. Most of my own translations here were done rather roughly in the mid and late 1970s.
(Introductory Essays)
杨宗稷序 Preface by Yang Zongji
周慶雲序 Preface by Zhou Qingyun
題辭 Commemorative Poems (Four 7x4 each)
琴史補目錄 Table of Contents of Qin Shi Bu
附朱長文琴史所載琴人姓氏 Names of qin players in Zhu Changwen's Qin Shi attached
None yet translated
卷一 Folio 1
. Sources given here: 路史 ; 古琴錄 Gu Qin Lu [?].)
Zhu Song, also called 祝龢 Zhu He, was from the 祝融氏 Zhurong clan. He made music fro it harmonized people and helped make the world orderly. He made a qin out of 梓 zi wood. It conveyed the five colors and caused birds to dance in the courtyard. His qins were called 凰來 Huang Lai (Female Phoenix Arrives), 鸞來 Luan Lai (Luan Bird Arrives), and 鳳來 Feng Lai (Male Phoenix Arrives).
). Subsequently the tradition arose (see, e.g., ) that he lived 5000 years ago. Han dynasty sources such as the Book of History (which mentions Yan Di as a different person) generally connect him and his clan to the Yellow River basin, in particular areas of Henan province (see, however, a version of the legend connecting Shen Nong with the cultivation of ). The legend developed that after succeeding Tai Hao as Yan Di, Shen Nong taught the people agriculture. Shen Nong, like , is often credited with having invented the qin; there is more on this under . Most commonly Shen Nong is said to have made a 五絃琴 five-string qin, fixing the standard measurements, but in L&shi Chunqiu ( here he is called 士達 Knight Da) it is said to be a 五絃瑟 5-string se. Another story (in
?) says he made a seven-string qin. He is said to have given names to the strings, and
in Taiyin Daquanji claims to be a depiction of his qin. Sources given here are: 琴清英 ;
and 路史 .
Yan Di was from the Shen Nong clan. His surname was 姜 Jiang. He used his fire virtues to govern and so was called the Fire Emperor....
to organize the musical notes and modes. After a dream he is said to have written the melodies 夢遊華胥引 Meng You
concerns his discussing the Dao with Guangchengzi.
in Taiyin Daquanji claims to be a depiction of his qin called 遞鍾 Dizhong, which he used to play melodies in the saddest mode, 清角 Qing Jiao. Later 師曠
caused calamaties when playing melodies in this mode. Sources given: 網鑑 Wang Jian, 路史
, 古琴疏 . See also
Huang Di was originally 軒轅 Xuanyuan from the 有熊氏 Youxiong clan. He grew up 姬水 by the Ji River and so used Ji as his surname. The region was in Youxiong, so the clan was called Youxiong....
and the father of
discusses him as a God of Music, quoting 呂氏春秋 L&shi Chunqiu
() as having ordered 咸黑 to compose several songs and 有倕 You Chui to create a number of wind and percussion instruments. Here he is discussed together with a 鄒屠氏 Zoutu Shi, a concubine of his son Y and 晏龍 Yan Long, another son (see in ). The sources given are the Comprehensive Mirror (通鑑 Tong Jian) by Sima Guang and [古]琴疏 .
Emperor Ku, from the Gaoxin clan, had the surname 姬 Ji and given name 夋 Zun. Emperor Zun's qin was called Mother of Lightning (電母 Dian Mu). Every summer month when bright lightning would flash the strings would resound in sympathy.
The qins of Zun's son Yan Long were called Mushroom Head (菌首 Jun Shou), White Jade (白珉 Bai Min),
(義輔 Yi Fu), Luxuriant Bright (蓬明 Peng Ming), Bamboo ... (竹/開 開 Kai Kai), and Hand down Lacquer (垂漆 Chui Qi).
鄒屠氏 Zoutu Shi
Zoutu Shi (40445.80)
Zoutu Shi, a concubine of , used catalpa (梓 zi) of 碧瑤 biyao to make a qin. She adorned it using precious jade of Yu Fu (王+雩 琈) and so it was called Yu Fu.
Mou Gou was a vassal of 堯 . Yao ordered Mou Gou to make 離聲 Departing Tones so he made a seven string qin (? 七弦徽). Great Tang (大唐, i.e., Yao) sang and the people's affairs were accomplished. Qin Qing Yin says,
played a five-string qin and the world was in order. Yao added two strings in order to harmonize 君臣之恩 the kindness of rulers and servants. It is commonly said that the seven string qin began later. Some think that they were added by
and . This is a major error....
Emperor Xiang, surname 姒 Si, was a son of 仲康 Zhong K Xiang was his given name. At the beginning of his reign the 條谷 Tiaogu (nomads) presented him with some tong wood and 芍藥 peony roots, so the emperor ordered 羿 Yi (/2) to plant the tong at 雲 Yun and 武羅伯 Wuluo Bo (?) to plant the peony in the back yard. Wu Luobo admonished him, saying, (The emperor should not allow himself to be tempted by exotic gifts. But the emperor did not listen.) Yi then cut down the tong tree, made a qin and gave it to the emperor, who enjoyed it. He called it Tiaogu and gradually focused his interest on music. He disregarded the affairs of state and so was driven off by 羿 Yi. The emperor then lived at 商丘 Shangqiu, where he played the qin and made the song 源水 Yuan Shui. Its lyrics are:
涓涓源水，不壅不塞。
轂既破碎，庸大其輻。
事已敗矣，乃重太息。
, and 牟光 Mou Guang in
. Sources given here: 史說 Shi Shuo (世說新語 , 5th/6th c.); 路史 ; 莊子 Zhuangzi.
Wu Guang, a man of the Xia dynasty, is the same as Mao Guang and was also called Mou Guang. He played the qin and became a recluse, eating herbs and not growing old. At the time that 成湯
overthrew 桀 Jie (to establish the Shang dynasty, Wu Guang refused to help Tang. After Tang succeeded he wanted Wu Guang to be emperor but Wu Guang not only refused, he said he didn't want to have to look at a person like Tang, and so he drowned himself.
, which relates that a tune he had written for
was later heard by 衛靈公 Duke Ling of Wei, who carried to tune to 晉平公 Duke Ping of Jin, where it wreaked havoc. Sources here: 拾遺記 Shiyi Ji (12361.33 by 王嘉 Wang Jia, d. ca. 390; a more complete version of that account, connecting Shi Yan to a , is quoted in QSDQ, ); and 史記 Shi Ji.
Shi Yan, a musician (at the end) of the 殷 Yin dynasty, was good at yin yang and at predicting the future. When he played the one-string qin the earth dieties would arise, and when he blew the jade tones the heavenly spirits would come down. At first (when he played in the court of the last Yin ruler 紂辛 Zhou Xin) he would play the sounds of 清商 Qingshang, 流徵 Liuzhi and 滌角 Dijiao. But Zhou Xin said, This is pure old far-off music, not what I you must play the melodies 迷魂 Mihun and 淫魄Yinpo. When
overthrew Zhou Xin, Master Yan went off east to (through?) 濮流 Puliu and drowned. Some say he died at 水府 Shuifu.
(r. 827 - 781). As her husband led a dissolute life she took herself off to jail, saying she must be the cause of her husband's misbehavior and so she was awaiting punishment. King Xuan then repented. The sources given here are 列女傳
and 古琴疏 .
Ms. Jiang, daughter of 齊侯 the Marquis of Qi, was the queen of King Xuan of Zhou.
King Xuan had a qin named Melodious Wind (響風 Xiang Feng). On the back were inscribed "W" and, "There are robbers in hiding." She played this qin every day at the king's court and so he became more careful, thereby restoring power to the throne.
Yu Sui was a man of the Zhou period who made a qin called 伶官 Ling Guan. It was three chi six cun long and had a big sound. He presented it to . During the reign of (Wen Wang's grandson) , when the two younger brothers slandered , (the latter) wrote 周公操 Zhou Gong's Lament and presented it (by playing it for Cheng Wang on this qin). Crying without stopping, (Cheng) Wang finally, as a result, untied the Golden Cord (with the box of Zhou Gong's pledge of fidelity) and and used this qin to play , which restored him to favor.
, near 安陽 Anyang in Henan. His prime minister was . At first Duke Huan strengthened his state through diligent rule, and Confucius said he had 正 integrity. But later he lost interest in governing. Source: 蓴湖漫錄 . See also
(QSCM, #3),
, and the biography of his wife in .
Duke Xuan, who had the given name 小白 Xiaobai and the surname 姜 Jiang, was the noble lord of Qi. It is said that 鳴廉 Ming Lian, 修兄 Xiu Xiong and 籃脅 Lan Xie were the names of qin which all belonged to him. However, the one he particularly loved was called 號鐘 Hao Zhong. It is said that once the envoy 寧戚 Ning Qi beat on an ox horn and sang while the duke played the qin called Hao Zhong to accompany him. This brought tears to the eyes of all who were there. Qin experts say he once wrote 琴要 Qin Yao (Qin Necessities). This book has not been transmitted and this story is not reliable.
; 宋華元 Hua Yuan of Song (31910.17). Sources for the two biographies: 史記 Shi Ji; 古琴疏 . The qin named Rao Liang is not depicted in Taiyin Daquanji but there is a brief .
King Zhuang, given name 侶 L& and surname 芊? Qian, was son of 楚穆王 King Mu of Chu. He had a qin called Resonating around the Beams (繞梁 Rao Liang) given to him by Hua Yuan of Song. When (King Zhuang) played it the sounds resonated around the room so bewitchingly that he became infatuated and stayed away from the court for seven days to listen to it. His consort 樊姬
came in and said, My lord is fascinated with music. Formerly 桀 Jie (桀癸 Jie Gui, last Xia emperor) loved the se as played by (his concubine) 妹喜 Mei Xi, and thus perished. Xin (紂辛 , the last Shang emperor) listened to 靡靡 extravagant sounds and thus lost his country. You have now listened to your Rao Liang for seven days without going into court. Do you want the music to destroy you and your country? She then used an iron 如意 ruyi sceptre to destroy his qin.
王子無虧 Wangzi Wukui attached
Wangzi Without Fault, 21295. source same as above.
Wangzi Wukui
had a qin called Fluttering into the Blue (青翻 Qing Fan). Later as a hostage in 秦 Qin, unable to go home, he played this qin and sang,
洞庭兮木秋，涔陽兮草衰。去千里之家國，作咸陽之布衣。
Dongting Lake, Cenyang, withered grass. I am 1,000 li from home, making cotton clothing in
(the Qin capital).
, Duke Xiang, 24th year.
Zhang Ge and Fu Li were two high officials in 晉 Jin. In the winter of the 24th year of 魯襄公 Duke Xiang of Lu (548 BCE), 楚子 the Viscount of Chu attacked (Jin's ally) 鄭 Zheng in order to save 齊 Qi. The Jin ruler ordered Zhang Ge and Fu Li to go into the Chu camp, and asked Zheng to provide a charioteer. The people of Zheng divined that 宛射犬 Yuan Shequan (7268.38 a 公孫 gongsun [scion of a noble family] of Zheng) would have luck (as their charioteer). 子大叔 Zi Dashu then admonished (Shequan), saying, These (two) are peo you cannot put yourself on the same level as them. (Shequan) answered, No matter whether or not a state is populous, we are on the same level. Dashu said, That is not so. A small hill has no pine or cypress trees. The two officials (did not treat their charioteer as an equal. They) remained in their tent while Shequan sat outside. They ate first, then fed him. They had him ride in a wide chariot while they got in a (four-horse?) cart. When they were about to arrive at the Chu camp they got behind him on his cart, crouched on a crossbeam and played the qin. As they got near (the Chu soldiers, Shequan) just dashed on without consulting (Zhang and Fu), who then took their helmets out of their bowcases and put them on. (Going into a trench) they got off the chariot, grabbed some men and threw them down and took some as captives. (Meanwhile,) the chariot rather than waiting had gone out (from the trench). Leaping up and getting on it (Zhang and Fu) took out their bows and began shooting. Having escaped they again squatted on the crossbeam and played the qin. They said, People who get on the same chariot with a gongsun become brothers. Why did you twice not consult us? He answered, At first I had only my focus on going into (the camp). But then I became afraid. (Zhang and Fu) laughed and said, the gongsun is too much!
師開 Shi Kai
Shi Kai (9129.xxx)
Shi Kai was also good at playing qin. He used sounds from east and west and knew 室之朝夕 inside a room if it was day or night. The information in Qin Shi Bu for both Shi Cao and Shi Kai comes from
and 晏子 Yanzi (presumably 14213.1 晏子春秋 Yanzi Chunqiu, attributed to 晏嬰 Yan Ying, d.493 BCE.)
(GSR VII, p.49ff), here called 伍胥 Wu Xu; see also the story in Shi Ji 5 (GSR I, p.104) about Wu Xu and King Ping of Chu. As for Completely Plundered, 26190.52 窮劫 Chong Jie says that it was by a music master of Chu. The source given is the same as here: 吳越春秋，闔閭內傳 , Hel& Neizhuan (late Han).
Huzi was a music master (of 楚 Chu). He disagreed with the belief 荊王 the King of Jing had in the slanders (of 費無忌 Fei Wuji, who wanted) to kill 伍奢 Wu She (father of 伍子胥 Wu Zi Xu). Ploughing in 白州 Bai Zhou then plundering without stopping at the borders. After arriving (in Chu) they dug a grave for King Ping's massacred corpse. Their wicked joy saddened Chu, lords and vassals both mourning. King Zhao was in distress, several times not being given respect in the world. He felt shame. So (Huzi?) took his qin and for Chu made the melody Completely Plundered (窮劫 Chong Jie 26190.52).... (quite a long article)
. The place where Liezi is said to have lived, 鄭圃 Zhengpu (), was the 鄭 Zheng game preserve at 圃田 Putian (4877.2, in Henan province). The book of Liezi has stories connected to a number of qin melodies including
(with Liu Shui),
. Other references include
in Taiyin Daquanji shows what it says is Liezi's qin.
Liezi was a man of Zheng. His learning began with the Yellow Emperor and . (The Book Liezi, Chapter 1, beginning), 號曰 says, "The Daoist (Liezi) lived in Z for 40 years no one noticed him."
Once while roaming around Mount Tai he saw lightning cut a tong tree. Because he used this to make a qin it had a large sound.
He wrote two pieces (曲 qu) called 襄陵 Xiangling (see ) and 枯魚 Ku Yu (Dried out Fish). He also 綴 continued 72 small melodies (小調 xiao diao) and 160 elegant airs (雅弄 ya nong).
Zhu Mu was a recluse during the Warring States period. Going into the mountains to find wood for fuel he obtained some strange wood that seemed qin-like. So he cut it and made one, giving in the name Great Antiquity. With his wife, who was secluded with him, he wrote a song and played it. The lyrics went,
天下有道，我黻子佩。 When the earth has the Dao I wear my official robes.
天下無道，我負子戴。 When the earth has no Dao I wear my self-sufficiency.
優哉遊哉，聊以卒歲。 Let's have fun, for someday we will die.
相樂以終身。(They spent the rest of their life enjoying themselves?)
; compare Liu Juanzi, below, and .
), is called by Van Gulik (, p. 92n) a Daoist doctor of the 4th c. CE, adding that
in his Qin Lun attributed both
to Liu Juanzi. Of the three melodies mentioned below, there is surviving tablature for two,
(the earliest surviving tablature uses it as a prelude to Yang Chun) and
(the earliest surviving tablature attributes it to , the attribution to Liu Juanzi coming much later). As for 高柳聞蟬 Gaoliu Wen Chan (Hearing Cicadas in the Tall Willows),
高柳 quotes a poem in
by 陸機 Lu Ji (261 - 303) about cicadas calling from tall willows, but I have as yet found no further references to a melody on this theme. The
for the below are given with . Both seem sometimes to be confused with .
There was also Liu Juanzi, a man of Qi; he wrote Xiuxi Yin, Shishang Liu Quan and Gaoliu Wen Chan.
of Taiyin Daquanji. The melody
Bright Moon (皎月 ) does not seem to be on any old lists. Many handbook have an Invocation of Wind and Thunder (風雷引 ). Source given here: 廣博物志 .
He Yun, from 魯 Lu, made a qin called Dragon's Forehead (龍額 Long E). The top of the qin's shoulder was inclined to give one cun two fen (1.2 "inches"?) from the five strings. Once in the area near where the 淮泗 Huai and Si Rivers meet (northern Jiangsu province), when the night was peaceful, while he was playing the qin, suddenly three men came. They said, We are three immortals from the Shang dynasty. Your qin music is exceedingly wonderful. But it is a bit different from the ancient method. Thus they taught him the melodies Bright Moon
and Invocation of Wind and Thunder.
of Taiyin Daquanji, which ma other editions have the same as what is here. 周召公 Duke Zhao of Zhou was a son of Wen Wang by a concubine. The source mentioned here is .
Ji Gang, a descendent of 周召公 Duke Zhao of Zhou,
made a qin called Dragon's Head
Between the double foreheads
there is a sharp nature of 2.5 cun ("inches"). It has a 清實幽遠 clear, firm, deep, distant sound.
in Taiyin Daquanji, which also gives the same description as here. Source given is .
Qin Jue, a man of 衛 Wei, made a qin named Phoenix Tongue. (One end) slanted out 3 cun, forming a point below. If well-practised in the zhi mode, whenever you sit to play in the (wind and) snow suddenly (the weather) will become more temperate. 陳虞 Chen Yu (xxx) ordered (someone) to play the qin during the hottest part of summer. He played 南音 southern sounds. Suddenly from the east clouds arose. By the time the piece finished the snow was falling (elsewhere it says "there were three inches of snow.")
in Taiyin Daquanji. The source mentioned is .
Chen Zhang, a man of 秦 Qin, made a qin called Divine Sunshine. Below the waist were four moons on the sides. It played beautifully in the yu mode. Suring the summer period as soon as one played this qin you could hear light breezes blowing.
) does not survive in any tablature. The sources given here are 列女傳
and 文選注 N the same story is also told in QSDQ, , quoting yet another source. A poem attributed to her is translated in HJAS 57, Ronald Egan, Music, Sadness and the Qin, pp. 6-7.
Qi Liang, from 齊 Qi, died during a battle at 莒 Ju. At his funeral his wife sighed and said, Before I had no father, now I have no husband, in the future I will have no children. At home I outside I have no one to rely on. In the future how can I establish my purity? How can I 更二 (have another family?); I am already dead. So she took up a qin and played it. At the end of the melody she jumped into the river and died. Later people called this melody Lament of the Wife of Qi Liang.
) has two stories, one related to the daughter of the Marquis of Wei (衛侯女 34896.87xxx), the other related to . Sources given are 琴清英
(for the former story) and 琴操
(for the latter). See also . Note that
is a completely different 衛女 Wei N&.
The Governess of the Woman of Wei wrote the melody . See 琴書 Qin Shu (?), which says, the daughter of the Marquis of Wei married the 齊太子 heir of Qi. On the way she heard that he had died. She asked her governess, What can I do? The governess answered, Go and mourn. When mourning was over (Wei N&) was unwilling to return, and in the end she died (there). The governess regretted this. She tood the qin that the woman usually played and sitting on a quilt played it. Suddenly two pheasants came out together from the grave. The governess stroked one of the pheasants and said, Has the lady turned into a pheasant? Before she had finsished speaking (the birds) both flew up and went away. She could not see where they had gone. The governess with great sorrow took the qin and created a melody. Thus it was called Zhi Zhao Fei.
Another explanation is that the melody was created because the bachelor 犢牧子 Du Muzi, who was old but had no wife, had an emotional reaction to seeing a male and female pheasant flying together.
With traditionally told strange tales people don't know what is true and what is not.
in Taiyin Daquanji (QQJC, I, p.48) shows a qin called simply 秦琴 Qin Qin, which it says was made by Qin Shi Huang, describing it as here. The parts of the qin said to have been made of 黑碧玉 black jade are always supposed to be made of a substance harder than the wood of the t often it is ebony, though all but the bridge might be made of jade. This instrument is also mentioned in Qinqu Daquan, . The sources mentioned in Qin Shi Bu are 史世紀 Shi Ji (Chapter 6; see Watson, Records of the Grand Historian, pp. 35 - 44; this concerns the first part below); 琴疏 Qin Shu (? this is presumably for the part describing the qin, but
seems to mention Qin Shi Huang only in connection with , the next entry below); and 西京雜記 , presumably for the third part).
The given name of Qin Shi Huang (who unified China by establishing the Qin dynasty in 255 BCE) was 政 Z 實 Shi was his surname. His real surname was 呂 L& (because his mother had become pregnant with him by 呂不韋 L& Buwei (see ), who but before he was born his mother married) 莊襄王 King Zhuangxiang (of Qin). Relying on Qin's wealth and power (Zheng) destroyed the six kingdoms and the world called him Emperor. He thought that the Zhou dynasty achieved its 德 energy from fire. Qin had replaced Zhou because it had what fire could not overcome, energy from water. (Water is associated with the color black so Qin) clothing, flags and banners all honored the color black.
(Qin Shi Huang) once made a qin. Its tuning pegs, bridge, feet and tail were all made using black jade.
取其所尚 He used what he most honored (?).
(劉邦 Liu Bang, 247 - 195) first entered the (Qin) palace he went into the treasury and saw a qin six chi ("feet") long (almost double the normal length), with 13 strings, 26 studs, and everything adorned with the seven precious gems. It was inscribed with the name 璠璵之樂 Fanyu zhi Yue (Music of Precious Jade). It was an object of 咸陽宮 Xianyang Palace.
( was the Qin capital, near Liu Bang's new capital, Chang An.)
, is said to come from 琴疏 Qin Shu; probably this should be 古琴疏 , which does have it. The assassination attempt by Jing Ke resulted from a desire for revenge on the part of Prince Dan of Yan: see Shi Ji 86 (Assassin Retainers: see Watson, Records of the Grand Historian, Qin, pp.167 - 178), and . Jing Ke is said to have written a melody called
. Gao hides a knife inside his zhu and then unsuccessfully tries to kill the emperor, Gao is immediately killed. A fanciful re-telling of this story was made into a film in China called
(秦頌 Qin Song, 1997); in it the zhu is replaced by a qin. The same thing seems to happen with a zhu melody said to have been composed by .
Wen Xing was a 琴女 woman qin player in the Qin court. When (the would-be assassin) 荊軻 Jing Ke grabbed the king of Qin and was about to stab him the king said, I am fond of the qin. I would like to hear a song, then I can die. Permission was given, so he ordered Wen Xing to play a melody. The melody said,
羅縠單衫，可裂而絕。 Thin silk shirt, you can tear it and it rips.
八尺屏風，可超而越。 Eight foot high screen, you can leap and get over it.
鹿盧之劍，可負而拔。 The sword with the jade disc hilt (), turn it over to draw it.
The king followed these words (of instruction) and so made his escape. He later named this qin Screen Leaper (超屏 Chao Ping). It is also said that the King of Qin, having already killed Jing Ke, that night laid out his wine and ordered Wen Xing to play the qin and sing this song.
; 43291.14 quotes Shi Ji 111 [RGH II/169-85]; his given name means Get-Rid-Of-Disease), an illegitimate son of the older sister of the great general 衛青 Wei Qing (d. 106 BCE), was from 平陽 P he achieved great success as a general in central Asia (see ). Huo's sister 子夫 Zifu was a singing girl who enamored Han emperor 武帝 Wudi (r.141 - 87). The qin song here is included in Yuefu Shiji, .
Huo Qubing, a great general, was a son of the older sister of Wei Qing.... He wrote a qin song. Its lyrics were,
四裔既護，諸夏康兮。 (四裔 = 四夷)
國家安寧，樂未央兮。
載戢干戈，弓矢藏兮。
麒麟來臻，鳳凰翔兮。
與天相保，永無疆兮。
親親百年,各延長兮。(Not yet translated).
Qin Cao includes a 霍將軍渡河操 General Huo's Crossing the River Melody. It was written by Huo Qubing.
Actually, 琴操
is 霍將軍歌 General Huo's Song (TKW Qin Fu, p.751.) The Qinshi Bu sources are given as 漢書 Han Shu, 古今樂錄 Gujin Yuelu (th c.), and 古今圖書集成 Gujin Tushu Jicheng (3308.68; Qing).
. As for Solo Swan Lonely Duck,
單鵠寡鳧 Dan Gu Gua Fu only quotes the story given here.
Liu Daoqiang , a man of 齊 Qi, was an excellent qin player. He was able to play the melody Solo Swan Lonely Duck so that all the listeners became helplessly sad.
; also called 楊子雲 Yang Ziyun.
. However, the same story as here, as quoted in Qinshu Daquan, , writes the name of the player as 荀息 Xun Xi (31659.27).
has others who could make people cry with their qin play.
孫息 Sun Xi says only 子孫也 that it means "descendants", but a Sun Xi seems to have been mentioned in 說苑，
3, which says,
孫息學悲歌古琴，即引琴作鄭衛之音，靈公大感，故作《衛公》之曲，歌而和之。
Sun Xi learned emotional songs on an old qin, then taking his qin played sounds from Zheng and Wei. Duke Ling was greatly moved by this, and thus the melody The Duke of Wei was created. It was sung to accompany this.
The text identifies its source as, "《北堂書鈔》卷一百六頁四零九 Folio 108, Page 409 of the Beitang Shuchao" (the Tang period encyclopaedia from which this fragment was copied). In fact the Beitang Shuchao adds its own comment, "案陳本脫古琴即三字琴作瑟 The Chen edition [of the Shuo Yuan] leaves out the three words 古琴即 and writes 瑟 instead of 琴" (thanks to
for pointing this out to me). This makes the text begin, "孫息學悲歌，引瑟... Sun Xi learned an emotional song, took his se and ...."
The original Qinshi Bu text says:
Sun Xi had an audience with the King of 晉 Jin. The King said, When you play the qin can you cause people to be 悲 sad? (Sun) Xi answered, Now you live in a place of high terraces, with deep canopies connecting rooms, heavy gates, chunks of meat, rich wine, with singers and musicians in front of you. It would be hard to cause you to be sad. Someone who when young lost his parents, when older had no 兄嫂當道獨坐暮無所止於此者, they could be sad. So he took his qin and played it. The King of Jin became sick at heart, wailed and cried. He said, 何子來遲也?
Zhang Ji, style name 仲景 Zhongjing, was from 南陽 Nanyang. He was skilled at treating disease. One day while in the 桐柏 Tongbo hills (of Henan) gathering medicine he came across a sick man, who asked to be examined. Zhongjing said, Your wrist has the pulse of an animal: why is that? The other man told him the truth, that he was an old gibbon from a cave in Yi Mountain. Zhongjing took out from his bag a pill and gave it to him. The (gibbon) swallowed it and recovered. The next day (the gibbon) brought him a tree trunk, saying, This is 10,000 year old pawlonia. I must give it to you as compensation. Zhongjing cut the wood and made two qin. One he called Old Gibbon, the other 10,000 Years.
), style name 季和 Jihe, was from 潁川 Yingchuan (south of Luoyang). He had a qin name Dragon's Lips (龍唇 Long Chun). One day during a heavy rain and wind, he lost it. Three years later the great rain and wind returned, and a black dragon flew (with the qin) into the hall of 李膺 Li Ying (110 - 169 CE; Giles: Vervoorn 李). Li examined it and said, It is an old object belonging to Xun Shu. He then returned it to Jihe. (Jiehe), afraid it would fly away again, inlaid it with a gold inscription on the back that said, 劉累 Liu Lei (a famous dragon tamer of antiquity), in order to keep it under control, has changed the name to 飛龍 Flying Dragon. (Source: 古琴疏 ).
in Taiyin Daquanji shows what it says is this qin and has almost the same comment about it.) Three strings (?), doubled waist giving it a multi-moon shape. It is pleasurable to (use it to play) . I play it by the water's edge, and thus made (the melody) Fish Frisking in the Chilly Pond (魚躍冰泮 Yu Yue Bing Pan 47030.xxx), half section (the illustration says "20 sections"). (Source: 張[大命字]右袞琴經 Qin Jing [QSCM #194] by , Ming dynasty].)
or ?). A 盧女曲 Melody of Ms. Lu (23580.11; YFSJ, , pp. 1038/9) relates that 梁簡文帝 Emperor Jianwen of Liang, r. 550-551, issued a notice saying it was unfortunate that Ms. L the lyrics are by 崔顥
, a friend of 王維 , who also mentioned her music. Another comment about Ms. Lu and
Qinshu Daquan,
Ms. Lu (23580.10) was in the court of 魏武帝 (Emperor Wu of Wei, i.e., 曹操 , 155 - 220). She was a younger sister of General 陰叔 Yin Shu (elsewhere 陰升 Yin Sheng, 應叔 Ying Shu). When she was six she entered the Han palace and studied (excelled at) playing the qin. Her qin sounds stood out, but she was also extraordinary in all her talents. She excelled at new sounds.
had written Zhi Zhao Fei Cao (during the Warring States period), but its melody was 中絕 cut off. Only Ms. Lu was able to transmit it. After Emperor Ming of Wei died (in 240 CE) she left the palace and became 尹更生妻 the wife of Yin Gengsheng. Thus we have not lost this sound (presumably referring to Zhi Zhao Fei in particular, but perhaps also other music she played.)
and the Yi Jing, could sing and was good at playing the qin, (amusing himself with qin and books.) 王衍 Wang Yan (256 - 311;
Daoist scholar) and 嵇韶 Xi Shao (brother of ) both marvelled at him. (In 265 司馬炎 Sima Yan [236 - 290] founded the 晉 Jin dynasty, with its capital in Luoyang. As 晉武帝 Emperor Wu he created eight princedoms. After he died they all struggled to succeed him.) Around 304 CE 長沙王乂 Prince Yi of Changsha ().... (Tr Source Jin Annals [晉書 Jin Shu].)
(247 - 300) was a leading poet of the day, also famously handsome.
(5 source: Jin Annals [晉書 Jin Shu].)
Gongsun Hong was a woodcutter. When young he was orphaned and poor, so he cultivated another person's field in Heyang. He was good at playing the qin, with some ability to write music.
Pan Yue, then Magistrate of Hoyang, loved his talents.... (Translation incomplete)
, who was not familiar with He Xun, heard from the Changmen Pavilion the very clear string sounds. (They became acquainted and Zhang Han, who was also going to the capital, joined him on the boat.... Source: 蓴湖漫錄 .)
; 何氏語林 He Shi Yulin [as with ].)
Duan Youfu carried his qin when it was together with wind in the pines and babbling streams, these three were called the sounds of nature. 正合類聚羊曇節以金縷羊邀之。曲終不去.
; see Qinshu Daquan,
. Yuefu Shiji,
quotes 晉書 Annals of Jin. Source here is
Zhao Zheng, style name Wenye, was from Wei river. 情度敏達性， and he was good at satirical remonstrances. During the last year of Fu Jian....(mentions two melodies).
Liu Yuan (2270.92xxx), style name 幼祖 Youzu, was as a youth friendly and light-hearted with (劉裕 Liu Yu, 356 - 422, a poor woodcutter from 彭城 Pengcheng [Xuzhou area] who became a general and in 420 founded the 劉宋 Liu Song dynasty, based in Nanjing, and reigned as) 武帝 Emperor Wu. Liu Yuan 何不忌遂不相得, and he travelled around Huqiu mountain (northwest of Suzhou in the Wu district. 心欲留焉 As night approached there was a soughing of the wind as he faced the moon and played the qin by the 劍池 Sword Pond. Suddenly he heard the sound of tinkling jade. A woman dressed in clothing of purple gauze and a hanging ornamental girdle said, The Prince of Wu's beloved would like to come for a visit. Liu Yuan answered, 吳王愛女豈非韓重妻紫玉耶? If you are the Prince of Wu's beloved why isn't this the purple jade of Han Chong wife? (??) 遂於元偕行. She then went along with Liu Yuan (??) She said to Yuan, I hear you are an acquaintance of Liu Yu....
Translation incomplete.
and the Yi Jing. He excelled at playing qin. He followed the tradition of the elevated gentleman
and brought out its original beauty.... (Sources: 宋書 Annals of [Liu] S .
, Ming dynasty].)
[Xiao Luan] was about to have him executed.) The biography of Wang Jingze is the source of the story of the Scorched Tail Qin in the imperial storehouse (102.40 主衣庫). Regarding Song of Vexation (懊儂曲 Aonong Qu, also called 懊儂歌 Aonong Ge), see YFSJ,
and Xu Jian, QSCB, ). Xu Jian apparently understands 上敕五日一給仲雄，仲雄於御前鼓琴 to mean that once every five days the emperor gave Zhongxiong the qin to play for him. Regarding the added song line, see the . Source: 蓴湖漫錄 .)
Wang Zhongxiong, from Nansha in Jinling, was a son of Wang Jingze. He excelled at playing qin, being one of the best players at that time in the Lower Yangzi region. There was a
kept in the imperial storehouse. (Emperor Ming of Qi) gave it to him for five continuous days, (then) Zhongxiong played the qin in the emperor's presence, playing Aonong Ge. The lyrics said,
I have always lamente and now you have finally committed the deed.
(Original: )
(Another one said,
When a gentleman's actions do not cleanse the heart, he is proclaimed an evil man. [])
The emperor, although towards Jingze he outwardly emphasized his upright nature, inwardly he was suspicious (蓋帝於敬則雖外厚其禮，而內相疑備). And so Zhongxiong used the qin for satire (and so forth).
Xiao Yi 蕭繹 (508 - 554) became emperor after the defeat of the rebellion by 侯景 Hou Jing (502 552). Giles: he was defeated by the Western Wei and put to death after burning the imperial library. ICTCL p.658: A "key critical arbiter" of contemporary pianwen; wrote one of the most important articles on it, 金樓自 Jin Louzi. His Preface to (his brother Xiao Gang's) Linked Jade of the Dharma Jewel (法寶聯璧序 Fabao Lianbi Xu) mentions
for sources.)
The seventh son (of
was) 蕭)繹 Xiao Yi, style name 世誠 Shicheng. This was Emperor Yuan. He edited , a book that listed old qin names and the names of leading qin players. This book was often quoted by later people.
(441 - 513), the Qi dynasty heir apparent 文惠 Wenhui (i.e., 蕭長懋 Xiao Changmao [458 - 493], oldest son of 蕭賾 Xiao Ze, who was 齊武帝 Qi Emperor Wu; during the period
483 - 494 Wenhui would have been the heir apparent), and "Dirt in the Ground" (土離塵 Tulichen, 4975. "Dirt" [塵 chen] is written as "deer" [鹿 lu] over "ground" [土 tu]; perhaps the deer had been released from a pit). Source: 古琴疏 .
Yu Yan was from 會稽 Kuaiji (near Shaoxing.) When young he went to 秦望山 the Qinwang Mountains and saw hunter capture a deer. It called sadly to Yu Yan, who bought it and released it. Coming down the mountain he met a man who presented him with a qin, then suddenly disappeared. On the back of the qin there was some "immortal mushroom calligraphy". He couldn't figure it out. Later he showed it to (the famous scholar) Shen Yue (441 - 513). Shen Yue examined it and said, "It has 12 characters, 土離塵曾獲貝遇文惠至驃騎 Tulichen cenghubei yu Wenhui zhi piaoqi. At this time the (qin) was already valued by Wenhui, the heir apparent. His official rank had become Cavalry (Piaoqi) General." Shen Yue 歎異久之 sighed long, amazed at this (?). "Tulichen was the deer. Already captured treasure (cenghubei) means it was a gift. 始悟其為放鹿報 Now I see (the qin inscription) memorializes the release of a deer."
; Van Gulik, Lore, p.154, translates the same story from another source.
Zhang Hongjing had an old qin with bright lacquer that completely removed the color, so it looked like a black stone. Its inscription read, Falling flowers, Flowing streams. One night he heard the loud sound of a rat and was very anxious, so he ordered one of his female servants to shine a light on it. He saw that a string had broken and wrapped itself around the rat. Hongjing, amazed at this, changed the name (of the qin) to Terror of Rats (鼠畏 Shuwei).
translates the same story from a different source.
He Siling, from Kuaiji (near Shaoxing), excelled at qin play. Often at night he would sit under the moon, in a breeze, making the strings resound. Suddenly (one day) a man of majestic form appeared. Bound in fetters, he had a miserable demeanour. In the middle of the courtyard made the pronouncement "Good", then began a conversation. Saying that he was 嵇中散 Xi Zhongsan (i.e., ), he told He Siling, Sir, you move your hands very quickly, but not in accord with the ancient techniques. He then taught He . As a result He was able to carry on the transmission. This is the version (lit.: tablature) played today.
moved his capital to 江陵 Jiangling, on the Yangzi River in Hubei. The narration here concerns the period after Wei defeated the Liang here at Jiangling. Source: 古逸叢書
Pei Ni, style name 景尼 Jingni, was from 河東聞喜 Wenxi. By nature Pei Ni was lofty and refined, and naturally gifted. When the (Wei) 宮散騎常侍 government cavalry officers 謹平 pacified (conquered?) Jiangling, the 大獲軍實謹恣諸將校取之 conquering army (had to decide what to do). The other men all quarreled over the valuable objects they had found. Ni took only one plain qin that had belonged to the Liang Emperor Yuan. 謹深歎美之. He sighed with respect as he admired it.
Qiu Gong, style name 明 Ming, was from 會稽 Kuaiji. At the end of the Liang dynasty he hid in 九疑山 Jiuyi Shan (near what is now the border between Hunan and Guangdong provinces). Good at melodies of Chu, and especially good at the melody ....
; see also Xu Jian,
(p.53). His qin is not included among the
in Taiyin Daquanji, but the version called 太古遺音 Taigu Yiyin (see TKW, Qin Fu, p.46 and ) has it, along with the same information as here.
Li Yi was a 逸士 disengaged gentleman during the Sui dynasty. He made a qin called 連珠 String of Pearls. Along the jade lady waist is a string of pearls. There are colored strings. (When played) the melodies are clear and bright. (Li Yi was) commonly called Mr. String of Pearls. He wrote (the melodies) 竹吟風 Zhu Yin Feng, 哀松露 Ai Song Lu, 草蟲子 Cao Chongzi, and 規山樂 Guishan Yue; he also wrote 36 short tunes.
卷二 Folio 2
Zhongchang Zikuang (437.117, originally from Luoyang, wandered along the Yellow River in Shanxi until around 600, when he settled in an isle in the river [河渚 hezhu] near) 王績里 the village of
(in Longmen, southwest Shanxi. Zhongchang Ziguang) had no wife or children. He built a thatched hut on the north bank of the isle and feigned dumbness, playing the qin for his pleasure. For people who asked the way he used his sword to write the two characters 老易 Lao and Yi,
and the Book of Changes. Some years later) Wang Ji saw this and offered his services. He was so fond of Zikuang that he moved his home to be closer, but Zikuang remained dumb and never spoke with Wang Ji. Day and night they drank together, and they took friendly care of each other. (Ziguang) was called Mr. Hezhu.
負琴生 Fu Qin Sheng (The Qin Carrier 37504.xxx)
(This section contains a long conversation between Li Bai and the qin carrier, not yet translated. Source: 蓴湖漫錄 .)
. This entry largely quotes
by 柳識 Liu Shi.
(725 - 777) in a story from Suzhou Prefecture Records (蘇州苻志 Suzhoufu Zhi; see also
Qinshu Daquan, ).
Shi Jingshan excelled at qin. Dugu Ji respected him and they traveled together. Jingshan, with regard to the qin, was extensive and experienced. With each melody he would 以十合豆為準盡一升而移品 use 10 red beans to regulate his play. When he filled a pint he would change to another piece. (?)
(Qin Discussion) is quoted in . Source, as above, is 蘇州苻志 Suzhoufu Zhi.)
Yao Jianji, from the same city, acquired the tradition of Shi Jingshan....
descendent of 李淵 Li Yuan, founder of the Tang dynasty. He was also a noted painter as well as qin player. QSCM attributes to him a Tablature (?) for East Handle (東杓引譜
[Dongshao Yin?]; 14827.xxx), One Folio, a melody mentioned below. YFSJ, p.486, has three poems named Following the Army (從軍行 Cun Jun Xing) attributed to him. The sources for the story here are: 因語錄 Yin Yu Lu (4796.xxx), 唐詩紀事 Tang Shi Ji Shi, and 崇文總目 Chongwen Zongmu (8330.9 Song dynasty). Part of the story is told (garbled?) in QSDQ, .
Li Yue was a Vice-Director in the Ministry of War but was 雅度簡遠 and had an interest in mountains and forests. He had refined achievements in the Way of the qin, the virtues of wine, and poetry. In 湖州 Huzhou (just south to Taihu Lake) he obtained a slab of old iron that, when hit, would produce a clear sound. He also raised a gibbon named 山公 Mountain Duke. On moonlit evenings he floated on the river, climbed 金山 Gold Mountain, hit the bell, and the gibbon would cry out and tip over a cup. Until daylight 不俟外賓 not wait for outside guests (?). 嘗患琴家無角聲 At the time it bothered qin experts that there were no melodies in the jiao mode, so he wrote an East Handle Prelude, 7 Sections (東杓引七伯 Dongbiao Yin). It had 麟 unicorn sounds and 繹 unravelling silk sounds as it ordered the five tones.
? An Sui then used the 黃鍾 the first string as 宮 do and played it. (There follows a lengthy discussion of modes in history.)
, but no such melody survives in tablature. Source given: 前定錄 Qian Ding Lu (by 鍾 Zhong Lu, 9th c.; see TKW , p. 1686).
At the beginning of the period 785 - 805, Du Siwen was a student at the imperial college in Chang An; he was also an accomplished qin player. (He often visited in leading homes, making official visits, attending banquets, and always being accepted.) Once he went with guests traveling (and spending the night) in the southern part of the city at 苟家嘴中夜山月如晝 the Gou family home.
As they were talking that evening, the hills under the moon were as day, and the wandering guests were all drunk. Du Siwen by himself took his qin by the water relaxed (and played). Suddenly an old man with his hand on a cheek came and listened. Siwen thought one it was one of the other guests who had sat down, and he didn't even turn his head. When the melody ended he spoke, and then realized this was not one of the accompanying wanderers. He quickly set down the qin and got up. The old man then said, Young man, don't be alarmed. I am the Qin dynasty governor of Henan province, 梁陟 Liang Zhi (15135.xxx). I encountered hard times and died in this place. "All my life I was fond of playing qin. Just now hearing (you play the qin, the strings had such clarity I came to listen. It is difficult to find someone who understands music. Don't leave, but play for me some more." Siwen played for him Sinking in the Xiang River. The old man said, This melody is just taking form. I used to try it. Its playing technique is somewhat different from the way it is done day." So Siwen tried to learn this difference. As a result he revised his play and it had a much more antique flavor. It was rather mournful. People at that time all listened to him.
. Also mentions
, Li Liangfu and others.
, then lodging at 彭城 Pengcheng, gave his own opinion that the cravings were poetry, qin and wine. Yuxi reported this in a poem that said,
視事畫屏中，自稱三癖翁。
管弦泛春渚，旌旆拂晴虹。
酒對青山月，琴韻白蘋風。
會書團扇上，知君文字工。
(Source: 蓴湖漫錄 ).
(791 - 817) the whole poem is in Qinshu Daquan,
(QQJC V. pp. 434 - 5). The quote from 韓愈
(768 - 824) the whole poem, which is in Qinshu Daquan
(QQJC V. p. 424), has been set to music in the qin melody . (The sources mentioned, 唐宋詩本 Tang Song Shiben, 歷代詩話 Lidai Shi Hua, suggest that perhaps the only information about Reverend Ying comes from these two poems.)
Reverend Ying was a monk. Hearing Reverend Ying's Qin Song, by Li He includes the phrase, 竺僧前立當吾門，梵宮真相楣稜尊。 As a result a poem by Han Yu of 昌黎 Changli, Listening to Reverend Ying Play the Qin, says (in part), 昵昵兒女語,恩怨相爾汝。劃然變軒昂，勇士赴敵場。 (The passage quotes about half of the poem, breaking it up into five sections, with commentary in between.) Reading this you can see the beauty of Reverend Ying's qin play.
and Zhuangzi and lived in Hangzhou's 龍泓洞 Dragon Water Cave (in an area of Buddhist temples in the hills west of the lake [on 飛來峰 Feilai Peak on modern maps].) He took care of his wife and children through farming, like an ordinary person. Then late at night when the mountain was quiet he would take out his qin and play melodies. He slept little and seldom spoke with others.... (Source: 咸渟臨安志 Xianting Lin'an Zhi.)
.) He was 佐 an assistant in the tent of 韋皋 Wei Gao (745 - 805, an army commander who as governor of Sichuan [also called 西川 Xi Chuan] successfully fought the T Wei Gao was also a poet and patron of 薛濤 Xue Tao, and he once presented a jade ring to the singing-girl 玉簫 Yu Xiao). Pei Yue excelled at playing qin and was praised at the time. A mountain named 靈開 Lingkai (: name of an ancient qin, nothing about a mountain) had a beautiful pawlonia tree. He selected some and made (a qin) in a new style, calling it Lingkai.
馬給 Ma Gei
In Sichuan there was also a man named Ma Gei () who gained fame playing the qin. He was especially good at 大閒弦 Da Jian Xian and 小閒弦 Xiao Jian Xian (NFI; old books list a 上閒弦 Shang Jian Xian and a 下閒弦 Xia Jian Xian; 23/--/22, 間弦意 Jian Xian Yi is #166 in .)
楊子儒 Yang Ziru
Yang Ziru (), from 吳 Suzhou area, was also very good at 悲風 sad airs. (Sources: 唐書 Tang Shu, 南部新書 Nanbu Xin Shu.)
, p. 190). Website references include
(describes him playing qin and di flute),
T source: 唐書 Tang Shu, 珍珠傳 Zhenzhu Zhuan.
Wen Tingyun, original name Qi, style name Feiqing, was from Taiyuan. Precocious as a youth, he was skilled at writing ci essays. He developed a style of writing fu for examinations that became known as "Wen Bacha". He excelled at playing the qin zither and di flute, but in fact whatever instrument had silk strings he could stroke it and if it had holes he could blow it. It didn't have to be the wonderful sort of bamboo
used for flutes or wood he used for making qins.
, near Anyang in northernmost Henan, had once been a major city. 15 source: 蓴湖漫錄 .
Wang Jing'ao was from Chang'an. While fleeing from the disorders of Huang Chao he wandered to and fro in the neighborhood of Ye. He once played qin for Li Shanbu....
) apparently played qin in the style of Dong Tinglan.
Jiang Xuan, place of origin unknown, once played a
qin made by the 蜀匠 Sichuan wood-working 雷 . He played
and thus 故桂府王推宮所藏也。 At that time 元稹
that said,
Lei family gold-stud qin.... (see )
) was from 連州 Lianzhou (there is one in Guangdong). He excelled at playing qin. He wrote a 琴籍十卷 Qin Ji 10 Folios (QSCM #45 has this by Chen Zhuo).... (Source: 廣東新語 Guangdong Xinyu.)
The surname of the sister-in-law (his older brother's wife) of Yu Di is not known. Di once ordered a guest to play the qin. His older brother's wife, who understood music, listened through a curtain. She said, Of the (music's) three parts, one part is the sound of a zheng zither, two parts are the sound of a pipa lute. It is completely not the sound of a qin. Yu Di, whose style name was 允元 Yunyuan, served in the 司空 (Ministry of Public Works?). He once wrote music for According with the Sages ( 順聖 Shun Sheng says it is a melody name, then describes the dance). Dance was offered up to the court.
of Yu Ruming). The same story is told in Van Gulik, Lore, pp. 156-7, with the thing in the qin correctly identified as a woodworm (蛀 zhu) rather than, as in the Qin Shi text, a frog (蛙 wa).
Sun Feng had a qin named Turkey. When played it was not particularly good. But if only one person sang a song, the strings then resound by themselves in sympathy. As a result the name was changed to Resounds by Itself (自鳴 Zi Ming. But on the back of the qin there was a hole that looked like a woodworm. One day a Daoist came begging for food. Seeing the qin he said, "Inside there is a woodworm. If you don't get rid of it, the wood will become rotten." From his sleeve he took out a small bamboo tube and poured a small amount of black medicine beside the hole. Immediateley a green insect came out. On its back it had fine lines like golden thread. The Daoist put the insect into the bamboo tube and immediately left. After this if one sang a song the strings would no longer resonate. Sun Feng was amazed at this. A gentleman of wide knowledge came upon this affair he sighed and said, "This strange treasure was called an "examinator" (鞠通 jutong). If a deaf man puts his ear next to it for a short time he will be cured. It likes to eat pawlonia wood, but it especially likes old ink. Sun Feng then realized that the medicine in the Daoist's bamboo tube was powder from old ink.
). He later helped 趙匡胤 Zhao Kuangyin establish and worked for the Song dynasty (centered in Kaifeng 960-1127). 霅川 Zha Chuan (43238 gives 霅 as a place name and family name), mentioned in the text below, is associated in online sources with 湖州 Huzhou in Zhejiang (). Regarding the names of the two qin mentioned below, 洗凡 Xifan can be roughly translated as "washing away the commonplace", 清絕 Qingjue as "extremely pure". The Tongbo Palace (桐柏宫 Tongbo Gong) at 天台山 ., which claims a connection to these two qin, says that Xifan is now in the USA, where it has been recorded. (QSB sources: 宋史 Song Shi, 九城志 Jiu Cheng Zhi, 稗篇 Bi Pian].)
Qian Chu, style name 文德 Wende, from 杭州臨安 Lin'an in Hangzhou, was the ninth son of 金元瓘 Jin Wenguan, succeeding him as the King of Wuyue. Rather knowledgeable of books, he was an elegant singer and was especially excellent on the qin. He dispatched emissaries to find good material to make qins. An emissary arriving at the
Tiantai (mountain region) spent the night in a mountain temple. At night he heard the sound of a waterfall just beyond the eaves. Arising in the morning he saw it was a waterfall cascading on rocks just in front of the cottage, with a (temple) pillar standing there facing the sun. Remembering his own needs he said, If the pillar is made of tong wood then there is a good qin within it. Cutting it he found it indeed was tong, so he gave gifts to the temple monks in exchange for taking it as material for the "" (top piece) of two qins. They galloped home to make this known, and within a year it was cut and made (into qins). Called Xifan and Qingjue, they were treasures without equal for that time. Later when the Qian family joined Taizong's court these two qins returned to the imperial residence. After the Song dynasty moved south they 流轉至霅川 circulated around Z 葉夢得上之
praised them (presented them?).
). 37342.23 豹林谷 relates a story from 貴耳集 Guier Ji concerning Chong Fang and Chen Xiyi
(), who lived at Huashan, east of Chang'an and had connections with
(r. 976-998). The first Song emperor died 976 so the story here must refer to Taizong, often considered the first real Song ruler. Chen Tuan is said to have given advice to several important Song court officials, including Chong Fang. According to
(in German), pp.297-301, after living as a recluse Chong Fang entered government service in 1002 as Remonstrator of the Left, then became Attendant Gentleman in the Ministry of Works. Eventually he retired again as a Daoist mountain recluse. (Sources: 宋史 Song Shi, .)
Chong Fang, style name Mingyi, was from Luoyang in Henan. When young he and his mother went into reclusion at the Dongming Peak of the Baolin Valley
in the Zhongnan Mountains (south of Chang'an). By nature he craved wine, and grew millet and fermented it himself. Each (time) he said, Empty mountains completely silent must nourish it well. As a result he was nicknamed Drunken Lord of Cloud Stream. With a strip of towel and a short piece of serge, carrying the qin and gobet, he'd go up the long stream, sit on a large rock, play the qin. Self-satisfied he would collect mountain herbs as an aid to drinking. Always at the end of the day he would check on the moon and stars, and leave when it was dark. He called himself a Gentleman-in-retirement. (Someone) wrote (this?) biography to describe his aims. The first Song emperor admired his regimen. He summoned him to the palace and presented him strings of cash to take care of his mother. This didn't take away his aims.
. Sources: 宋史 Song Shi, 遺士紀聞 Yishi Jiwen. A similar version of this story is told in Van Gulik, Lore, p.155-6.
Wei Ye, style name 仲先 Zhongxian, was 陝州陝人 from Shanzhou (today's Sanmenxia in Shaanxi east of Xi'an). He lived in the districts eastern section. Here he put bamboo trees, clear springs in a surrounding facing clouded mountains.... (Here he played the qin and wrote poetry.) When the 真宗 Zhenzong emperor (r.998 - 1023) went to perform sacrifices at 汾陰 Fenyin (some ways across the river), climbing a mountain he looked over and saw Wei Ye's cottage. He sent a messenger to summons (Wei Ye). At the time Wei Ye was playing the qin and teaching cranes to dance. When the messenger arrived he embraced his qin, slipped over the wall and went into hiding. When the messenger reported this to the emperor he sighed and respected Wei Ye. He died in 1020 at the age of 60.
and not far away is a ), and is said to have considered plum trees his wife and pet cranes his children. Because of this he has been connected to qin melodies about
and, in particular, the melody . Two melodies survive in Japan using his lyrics:
(梅花 Mei Hua; has translation)
(飛瓊吟 Fei Qiong Yin)
Translations of his poems are included in several anthologies.
(Sources: 宋史 Song Shi, .)
Lin Bu, style name Junfu, was from Qiantang in Hangzhou. By nature quiet and solitary, he made a thatched hut on Solitary Mountain in West Lake and stayed there for 20 years without going into the city. He didn't marry or have children, but enjoyed playing the qin and singing. A poem of his about the qin includes the phrase,
天寒繹絡悲向壁，
秋高風露吹入林。
Lin Bu's qin and writing were skilled, exceeded only by his chess play. He once said, (something about this.)
qins, then five qin songs, then more. A comment on the Lei Family Qins is quoted in
on silks strings by Wong Shu-Chee. Source: 茅亭客話 Maoting Kehua (31477.43 a book in 10 folios compiled by 宋黃休復 Huang Xiufu, 10th/11 Bio/2081).
; also mentions his teacher, 崔諭 Cui Yu
. (A good poet), when young he enjoyed writing poems and playing qin. He did not take office, but went into the wilderness.... (Source: 蓴湖漫錄 .)
discusses him, saying he played in Jiang-Xi style. Regarding Jinbo Pavilion see
金泊亭 Jinbo Ting. The source is given as 南昌苻志 Nanchang Fu Zhi (4 lines).
Xiong Yuhe, style name 天樂 Tianle, was from 新建 Xinjian. By nature he was tranquil. He had no wife and did not eat meat. He only enjoyed wine. The most excellent 洪州 Hongzhou (Nanchang) wines were called 雙泉 Double Spring and 金泊 Golden Waves. Because Jinbo was the name of a famous pavilion, this was the one he wanted. Yuhe read through the classics, histories and everyone else's writing. With ordinary cotton garments and leather shoes he traveled to all the famous mountains carrying his qin. When there was the soughing of the wind in the pines he would play it. At the end of the day (his days?) he forgot to go home.
1002 - 1060. Mei Yaochen, with his friend Ouyang Xiu, initiated a "new realism" in Chinese C see ICTCL.) He excelled at using the qin to make himself happy. He was skilled at painting thatched cottages, and already lived in one with just one qin and a horizontal bed (or horizontal on the bed). 曹子方 Cao Zifang (? 1.23xxx) and
(QSDQ, ) both mentioned him in poems. They say Ouyang Bi became a metropolitan graduate in 1091 and was a 令 district magistrate in 石康 Shikang southern Guangdong. Source: 宋詩紀事 Song Shi Jishi, 東坡集 Dongpo Ji, .)
(1008 - 1048) was so good that he was summoned to play before the emperor himself (perhaps helped by the fact that he was a 內廷供奉 aka 奉候內庭: palace attendant [Hucker]). Nevertheless there seems to be very little information about him elsewhere (he is not mentioned in Chang Bide's comprehensive, 5-vol. dictionary of Song Dynasty biographies). The information here is said to come from 蓴湖漫錄
(13 however, all but the first 2.5 are the quoted poem).
During the period 1008 - 1015 Yanhua was a palace attendant. His qin virtues were very high. When old he was ill and so returned home to rest. 無聊甚聞 In these poor circumstances he heard that Su Shunqin had in his collection a valuable qin. 求而揮弄 (Yan Hua), having made a request, played it and was then 不忍去 unwilling to leave. Shunqin thereupon wrote a song to describe the significance of this. His lyrics were as follows,
雙塔老師古突兀，索我瑶琴一揮拂....
The old master from Twin Pagodas (the garden in Suzhou?)....
(The complete poem with a translation by Jonathan Chaves are included
These lyrics are also in Qinshu Daquan,
, but it had a mistake in the fourth couplet, changing some characters and adding two. The lyrics here are correct.
; doesn't seem to be in
(Sources given: 中央記聞 Zhongyang Jiwen, 蘇州府志 Suzhoufu Zhi.)
playing a qin with one string.
Xu Yan was a 教坊伶人 musician in the Jiaofang (a sort of court performing arts academy). At a palace feast during the 熙寧 Xining period (1061 - 78) he was 戛 tapping on a -style qin as wine was being served and a string broke. Xu Yan didn't change his qin, but just used one string to finish the melody. This began the Xi Kang one-string qin style.
Footnotes (Shorthand references are explained on a
琴史補 Qinshi Bu
My copy is a photocopy from The Chinese Library, Taipei.
周慶雲 Zhou Qingyun was from 烏程 Wucheng (north of Hangzhou); another source gives his dates as 1861 - 1931. He was a great book collector and a friend of 楊宗稷 Yang Zongji, compiler of
    ()
Some of the quoted sources have been translated elsewhere. Unlike Zhu Changwen, Zhou Qingyun names his sources. He may edit somewhat the sources, but generally simply quotes them.
My comments on this are in .
伶 Ling Lun
Ling Lun, the reputed musical assistant of the Yellow Emperor, apparently has no mention in the Shi Ji. 545.13 伶倫 refers to 呂覽，古樂 L& Lan, Old Music, and to 說苑，修文 Shuo Wen, Xiu Wen. On this site he is also mentioned in connection with the melodies
from Guo Yu, and an online article [] called
"Guo Yu: Astronomical Phenomena and the Year and Calendar of King Wu’s Conquest Over Yin". There is some discussion of this in David Schaberg, A Patterned Past, Form and Thought in Early Chinese Historiography, . As yet I do not see how the discussion of music there might help analyze any specific music (as compared to attitudes towards that music).
通鑑 Tong Jian, by 司馬光 Sima Guang ()
Tong Jian is short for 資治通鑑 Zizhi Tongjian (Comprehensive Mirror to Aid Rulers), completed in 1084 under the direction of the famous historian Sima Guang
(). A history of China beginning with the Zhou dynasty, it was also intended as a book of guidance for those in power. Other important works by Sima Guang include his
歷年圖 Liniantu (Chart of Successive Years) and 類篇 Leipian (Classified Chapters).
The Music of Zheng and Wei 鄭衛之音
Much was written about the music of Zheng and Wei, with fundamentalist Confucians criticizing it as too exciting while others praised it for the same reason. Unfortunately we know virtually nothing that would help us recover this music.
The earliest known mention the music of Zheng and Wei seems to be from the Annals of Music (樂記 ). The debate on its character is recounted here from Barbara Mittler, Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan and the People's Republic of China since 1949 (opera sinologica 3, 1997), pp. 40-41 (slightly edited and footnotes omitted):
A certain Prince Wen once complained to a disciple of Confucius, Zi Xia: "Whenever I am clad in festive robes and cap and listen to the ancient music, I have to be careful not to fall asleep." In his view, correct music was unimaginative. Zi Xia replied that other music such as "(t)he tunes of Zheng are cleverly made and corrupt the mind....The tunes of Wei are fast and excited and confuse the mind.... All these tunes lead the mind toward lechery and are harmful, therefore they cannot be used in the sacrificial rites." Prince Wen admitted, however: "When I listen to the music of Zheng and Wei, no tiredness befalls me....Why does the old music tire me and the new music please me?" He is instructed by his Confucian teacher that the most dangerous (yet apparently attractive) feature of this unorthodox musica nova is its lack of restraint. Yin (licentious) becomes synonymous with the music of Zheng and Wei, the "music of a perished country" (wangguo zhi yin). The ancient music, on the other hand, musica antiqua, is zheng (correct), because it is zhong (moderate, and jie (restrained).
of the Qin dynasty spoke in praise of the music of Zheng and Wei, though he considered it foreign.
References on this site to the music of Zheng and Wei include:
It is not always clear whether this music is or is not being criticized.
Return to the