The history of the piano for 300 years from the end of the Song Dynasty to the early Ming Dynasty was recorded
Taste the Tang, Song, Yuan, and Ming high guqins
Notes on Mr. Zheng Minzhong's Tibetan piano notes
Full-color fine printing, illustrated and illustrated, looking for the fun of the piano
From the instrument of the sage to the "best of the qin", and then to the first of the cultivation of "qin, chess, calligraphy and painting" necessary for Chinese literati, the guqin culture has formed a huge system integrating the history of the qin, the instrument, the qin, the qin, the music, and the theory of the qin.
This book is a compilation of the author's years of in-depth research on the guqin. The "Theory" of the history of the qin systematically clarifies the confusion between "Jiang Cao" and "Zhejiang Cao" in the Song, Yuan, and Ming dynasties, and explores the main context of the Qin world from the late Song Dynasty to the Jiajing Dynasty in the Ming Dynasty, and outlines the history of the qin in the past three hundred years. The "Ji Chuan" of the qin instrument is the surviving Tang, Song, Yuan, and Ming guqin, clarifying the origin and change. The "Notes" of the Tibetan Qin tells the inheritance of the nine Tang, Song, Yuan, and Ming qins collected by Mr. Zheng Minzhong.
This book contains nearly 160 pictures, including piano instruments, calligraphy and paintings, portraits of qin people, qin music scores, literature and book shadows, etc.
- Editor's Recommendation
The history of the piano and the instrument
(History of Humanities Series)
by Wang Feng
Published in June 2023
ISBN:978-7-100-22588-5【Introduction】This book is a collection of the author's research results on the history of the qin and the instrument, which complement each other. The history of the qin is concentrated in the Southern Song Dynasty to the Yuan Dynasty to the early Ming Dynasty, first the confrontation between Dong Li, Song, Yuan, Jiangsu, and Zhejiang. Then the words were divided into two ends, proving that the two most powerful qin clans in the Yuan and Ming dynasties, "Zhejiang Cao Xumen" and "Jiang Cao Liumen". The two articles bring together scattered materials, each spanning hundreds of years, involving seven or eight generations of the family, to restore the historical situation to the greatest extent. The eight Tang, Song, Yuan, and Ming guqins discussed in the qin part include both the high ancient instruments that Mr. Wang Shixiang and Mr. Zheng Minzhong have concluded, and there are also heavy instruments newly discovered by the author and independently determined. The article on the guqin of the Yuan Dynasty is a programmatic paper after Zheng Minzhong's "On the Characteristics of the Tang Qin and Its Authenticity" and "A Brief Analysis of the Guqin of the Two Song Songs", which has guiding significance for the identification of guqin instruments. And for Mr. Zheng Minzhong's Tibetan piano handbook made a long "commentary", eloquently talking, preserving the history of the previous dynasty, into a generation of letter history.
Mr. Zheng Minzhong and the author Wang Feng
【About the Author】
Wang Feng, a native of Fuzhou, has been working in the Department of Chinese at Peking University since 2000, and is currently the director of the Department of Modern Literature, the deputy director of the Institute of Modern Chinese Humanities of Peking University, the executive director of the China Kunqu Opera Guqin Research Association, and the director of the Chinese Modern Literature Research Association. His research interests include modern literary history, academic history, Chinese cultural history, qin history, and guqin instrument identification. He has published dozens of papers and monographs. In terms of guqin, in addition to papers, there is a manuscript of qin science (Chongqing Publishing House, 2016). Assistant Mr. Zheng Minzhong edited "Guqin of the Forbidden City" (Forbidden City Publishing House, 2006) and wrote all the texts.
directory
Apologetics
攷論
The confrontation between Jiangsu and Zhejiang in the Yuan Dynasty and the inheritance of Jiangxi spectrum in the Song and Ming dynasties
The Forbidden City's Tibetan qin song "Qiu Hong" album is due to the evidence of the Yuan and Ming Dynasty Xumen Qin
The family pedigree of "Jiang Cao Liu Men" between the Yuan and Ming dynasties and the "Buxu Xianqin Score"
On the Guqin of the Yuan Dynasty and "Yuanqin" should not become the concept of the Guqin Dynasty (also "supplement")
Biography
儷松居舊藏唐至德丙申“大聖遺音”伏羲式琴
Attack Yushan Fang, Tibetan Southern Song Dynasty official qin "Beilai" beaded qin - and Qianlong Tang Kanqin matter
Southern Song Dynasty Jiaxi two-year "Suitao" Zhongni style piano
In the middle and late Southern Song Dynasty, the official qin "Wan Yan Songsheng" was changed to the "Taisu" Zhongni style qin during the Ming and Qing dynasties
Li Songju old Tibetan Yuan Ming Feng style piano
Huayang Gu's handing down the early Ming Dynasty "Waterfall Lianzhu" Zhenbei Qin-like Lianzhu Qin - General and Ming "Ningheng Yilu" Wangfu Qin
Qianlong Imperial Ming Dynasty late inlay paste Baiqu "Wen Cheng Sanqi" Zhongni style piano
袁荃猷先生常所御晚明“金聲”蕉葉式琴 ——並及蕉叶式·祝公望攷
Notes
"Mr. Zheng Minzhong's Tibetan Piano Notes" is explained
儷松居舊藏唐至德丙申“大聖遺音”伏羲式琴
精彩試讀 弁 言
Eight years ago, a qin book was printed with the title "Manuscript of Qin Studies", and the subtitle was "Miscellaneous Collection of Guqin Treatises". Cover the works scattered at hand, divided into "Qin History", "Qin Instruments", "Qin Yan", etc., let's go ahead. Those who "save" are also in order to prevent loss. In fact, there are not many articles, hastily gathered, and the color is covered.
Today's collection, I don't know if it has grown slightly. In terms of the nature of the article, it is straightforward "The History of the Qin and the Piano". In terms of style, the area is "Commentary", "Chronicle" and "Commentary". After the proofreading is completed, a few words are spoken according to the rules to reach the same good.
The three essays on the history of the qin, which are really continuous works, and the topics are interconnected and coherent, which is intended to systematically clarify the confusion between "Jiang Cao" and "Zhejiang Cao" in the Song and Yuanming dynasties. The so-called "Jiang Cao" was originally called by the province of "Jiangxi Cao", and many later generations misunderstood. The so-called "Zhejiang Cao" was formed by Yang Zhang, Mao Minzhong, Xu Tianmin, and others, and the Yuan generation gradually became the mainstream. "The Confrontation between Jiangsu and Zhejiang in the Yuan Dynasty and the Inheritance of Jiangxi Spectrum in the Song and Ming Dynasties" describes the pattern of the growth and decline of the two exercises in the Yuan Dynasty. In particular, he replied to Yuan Ju, the master of the "Jiang Cao", and made it clear that the qin school was finally in the early Ming Dynasty. The last two articles respectively sort out "Zhejiang Cao Xumen" and "Jiang Cao Liumen". The "Jiang" of "Liu Men" and "Jiang Cao" means Songjiang, and the "Jiang" of "Jiang Cao" in the Song and Yuan dynasties means Jiangxi, and the wind and horses and cattle are incomparable. There are seven generations of Xu's people, from the end of the Song Dynasty to the Ming Shun period, and six generations of Liu's people, from the beginning of the Yuan Dynasty to the Ming Zhengde period. The next two doors are all opened by the descendants of foreign surnames. Xumen is powerful, so there is a saying that "Xumen is the true story"; Liumen is in a corner, and there is also a general idea of holding on to each other. This is just three articles, and I don't dare to allow Hongzhang to make a huge work, but it is indeed a long story. Reading it may be difficult to find that there are many clues, and it is very easy to break it down into seven or eight concise topics. However, on the whole, we can see the main context of the Jiajing qin world from the late Song Dynasty to the Ming Dynasty. It is confident that the history of the piano in the past 300 years has been very important.
In 1957, Mr. Guan Pinghu took a group photo with his disciples on his 60th birthday. On the front right is Mr. Jung Min-chung.
The so-called "chronicle" was originally based on chance, thinking of "making a biography" as an important instrument in the world, accumulating years and months, or it can become its scale. "The Manuscript of Qin Learning" is the biography of the three instruments of survival. Today, in addition to moving an article from the book to exemplify Tang Qin, there are seven more songs. When the two books are combined, there are always ten instruments. The difference from the previous one lies in the fact that in addition to the instruments that Mr. Wang Shixiang and Mr. Zheng Minzhong have concluded that they have been judged by the dynasties, such as the "Tong Lai" Lianzhu type qin, such as the "Wan Yan Songsheng" to change the "Taisu" Zhongni style qin, such as the "Wencheng Sanqi" Zhongni style qin, all of which have not been seen by the two elders and are not dictatorial. Due to the laziness to write a separate document, other related issues are brought along with each incident, such as the "Beilai" qin implicating the Qianlong and Tang Kanqin incidents, the "Wan Yan Songsheng" changing the "Taisu" qin Yan on the official qin in the middle and late Southern Song Dynasty, the "Waterfall Lianzhu" qin overview and the Ming "Ning Heng Yilu" Wangfu chopping utensils, and the "Jin Sheng" qin to prove the deeds of Zhu Gongwang and clarify the origin and change of the banana leaf style. All of them are very important academic topics in the history of the qin or the instrument, and they can be offered if they are foolish.
In the "Treatise on the Yuan Dynasty", "On the Guqin of the Yuan Dynasty and the Concept of "Yuanqin" Should Not Become the Guqin Dynasty", it is also a work on the instrument. For those who can be cherished, Sinai followed Mr. Minzhong's "On the Characteristics of Tang Qin and Its True Problem" and "Analysis of the Two Song Guqin", and continued to be a general theory of generations. The title is also structured in the same way as Mr. Tang Qinwen. Before writing, I dictated for Mr., and after the manuscript was completed, I was left and right. Mr. Shi lived forty years old, and his mental power declined, and he forgot the previous after reading. It is to go back and forth with the manuscript, and the cycle is endless. On such a day, Mr. Meng's family told him that he was anxious to recount it and make a festival to present. Mr. was in a good mood and asked to submit the "Journal of the Palace Museum". Suddenly, I realized that the current drafting of the "preface" is the death anniversary of Mr. Yi, and Mr. Day's 100-year life. Whoosh!
After the death of Mr., he was shocked to see his Tibetan piano handwriting among the relics. Mr. and Mr. Wang Shixiang finally have their own nine pianos to survive, the so-called coincidence. There are countless of them. And the collection of stories, subtle twists and turns, I don't know how many people have heard about it. This opportunity is a long note to describe cause and effect. Looking back on the teachings of the past 20 years, it can be described as a mixture of joy and sorrow.
The history of the piano and the instrument are interrelated. However, in terms of disciplines, the history of the qin belongs to the category of historiography, and the identification of guqin instruments is a category of cultural relics, and the Tao is divided into two categories. As far as the "rice rut" is concerned, the main business is literature. Whenever my friend saw a clumsy work on the qin, he joked about "a researcher of the qin who was delayed by literature"; and every time he saw a literary paper, he reversed the order of words. Single-mindedness, dual-use, or even triple-use, is not ignorant of the ancient precepts of persuasion and prohibition. Western proverb: "Running for two rabbits, not one rabbit." (Duos qui sequitur lepores neutrum capit.) Eastern proverb: "The fly bee is caught twice, but it can't be captured." (虻bee取らず.) There is also a proverb: "If there are two lines in the family, there will be a famine." It can be described as "the consensus of all mankind". And the horseteeth are long, and there are many miscellaneous things, and even the drum and piano have become a luxury. It's just that in any case, everything is done by the wise or inadequate, or unable to do, or disdainful. This is not to refer to Gu Tinglin, "what the ancients did not reach, and what the future generations must do" to exaggerate. But what can I do, Li Zhong's main play, Feng Yansi, said, "What's the matter with Qingqing?" Zhao Ziang gave Guan his wife Yun "a lot of affection"! That's what I heard.
Naturally, there are many topics that can be done or should be done. The most important issues in the history of the piano from the Southern Song Dynasty to the early Ming Dynasty have been completed, and one or two articles can be written to summarize the matter. After the joints of this hub are settled, it seems that it is inevitable to explore the Jin, Tang and Northern Song dynasties, or to the late Ming and early Qing dynasties. As for the instruments, Mr. Zheng Minzhong's collection of two Tang Dynasty qins, namely the "Chunlei" Fengshi style qin in the Tang Dynasty and the "Yunhe" Zhongni style qin in the Tang Dynasty, are to be discussed specifically to deepen the understanding of the Tang qin. Before the epidemic, Meng Li Zongkun's brother intermediated and went to the National Palace Museum in Taipei, went straight to the basement, and looked at the collection of vessels, among which the "Chang'an Xin Chou" style "Wan Qi Songtao" Fengshi style piano, and Zhang Daqian's old collection of "Spring Thunder" Lianzhu style piano, there are major problems that need to be clarified. In addition, Mr. Hiroo Hiroshi of Japan, and Shunjun Gomoto applied for the Sumitomo Foundation Academic Fund for me, thanks to the help provided by the foundation, which gave me the opportunity to specifically inspect the Japanese public and private collections of national treasures/important cultural properties.
During the epidemic, the Palace Museum had its first open solicitation to the whole society. Some of the instruments discussed in this episode are actually from the old collection of the Qing Dynasty, so they are also part of the open project and are included for the time being. There are many articles in this booklet, and there are many people who have helped them with friends. Wang Yuegong, Gao Jie, Zhang Jianhua, Guo Ping, Lin Chen, Ma Shengnan, Yao Xi'an, Mikiko Yamadera, Yan Xiaoxing, Gu Qian, Xu Liang, Tobi Tatsushi, Hayakawa Taiji, Zheng Yang, Zhang Nana, etc., all benefited me. Students such as Xia Yin, Gao Shuwei, Tao Ran, Jie Zhiyin, Huang Qiuhua, Chen Ruyan, Wang Ruilin, Jiang Ziqi, etc., are always grateful for helping to check information, or checking citations, or correcting pictures. As for the editors of the original journals in which the papers were published, they were friends who gave their opinions to the articles earlier, and the articles included in this collection have been retained in the notes that originally indicated the source of the journal when they were cited, so as to show that they will not forget. Naturally, if the work of "Notes" had not been discovered, sorted out, and authorized by Mr. Zheng's family, it would have been impossible for me to have those miscellaneous words, so thank you to the eldest sister, the second sister, and the third brother.
The title of this book is signed by Zhao Mengfu. Ziang's literary style is graceful, and the ink is wonderful, and it is really the essence of the Yuan generation. However, this is only five words, and it can be said that it takes a lot of effort to take it upside down. It is known that Xiao Liang and Zhou Xinghe's collection of Wang Xi's book compiled the "Thousand Character Text", and Li Tang Shi Huairen's collection of Wang Xi's book is compared with the "Tang Sanzang Holy Order", which is the most difficult thing in ancient times. I also took Wang Zhenpeng's "Boya Drum and Piano Diagram", which was slightly staggered, in order to look forward to it with Zhao Shu. This painting is now stored in the Palace Museum, and it is the most photorealistic of the Yuan people's piano picture. Meta-character painting, or there is a mutual interest.
On June 15, 2023, Wang Fengshu was written in Jingxi without a cabinet
Wang Zhenpeng "Boya Drum and Piano"