First, Gao Luopeiqi people
Gaurope, originally from the Netherlands, was born in 1910 in Zurtfen, the Netherlands, the son of a lieutenant general (military doctor). Since childhood, he has traveled with his family to various places, including India and Java. As a child, the Chinese on vases at home made him interested in Chinese. As a teenager, he returned to the Netherlands to attend secondary school, entered leiden University at the age of 18 to study politics and law, and later studied Chinese, Japanese, Tibetan, Sanskrit and Oriental culture at the University OfUte Institute. He is fluent in more than ten languages, including Dutch, Indonesian, Ancient Greek, Latin, German, French, Italian, Spanish, Chinese, Japanese, Sanskrit, Malay, Arabic and English, and has shown his talent early on. Before going to college, he had already participated in the editing of the Indian "Blackfoot" dictionary. His bachelor's thesis was "How to Improve the Laws of the Dutch East Indies Concerning Overseas Chinese"; his master's thesis was an English translation of Mi Fu's "History of Yan"; in 1935, at the age of 25, he obtained a doctorate with the "Worship of Horses" of the Chinese, Japanese, Indian and Tibetan ethnic groups. Gaulope's erudition is evident.
After graduating, he served in dutch diplomatic circles, mainly in the Far East, and served in Washington, Tokyo, Chongqing, New Delhi, Beirut, Damascus, and Kuala Lumpur. During this period, he was deeply impressed by the long history and profound oriental civilization, especially the traditional Chinese culture, which deeply attracted Gao Luopei. He studied, absorbed, immersed himself in it, immersed himself in it, and not only was he able to skillfully write ancient Chinese poems in the old Chinese language, but he was also good at piano, chess, calligraphy and painting. He is not only a rigorous scholar, but also pursues to be a typical Chinese old-fashioned literati.
In the 1940s, Gao Luopei (1st from left) listened to the piano at the home of Yang Shaowu (2nd from right) in Jiangbei, Chongqing
In 1935, Gao Luopei went to Japan as the secretary of the Dutch Embassy in Japan, and because he read the books of the Japanese pianist, archaeologist and connoisseur of cultural relics in the Ueno Library, and browsed the cultural relics of Donggao Xinyue, he learned about the great role played by The Donggao Zen master in promoting the revival of Japanese culture and art, and began to spare no effort to publicize and introduce the achievements of Donggao. In 1937, Gao Luopei wrote the article Chinese Music and its Introduction into Japan, which was published in the "Collected Essays on the Thirty Years of Professor Muto's Tenure", praising the merits of the Donggao monks in teaching the guqin in Japan. He also tirelessly took the trouble to make a number of achievements, such as the "Collected Works of the Late Ming Dynasty Righteous Monk Donggao Zen Master", "Selected Poems of Donggao", "Selected Writings of Donggao", "Compilation of Good Fortunes of Donggao", etc., which not only became the works of filling in the gaps in the history of Buddhism in recent times, but also opened up a new field of Sino-Japanese comparative violin research for us. The earliest mention of Donggao in Chinese literature is Zhou Qingyun's "Bibliography of Qinshu" in 1914. Because Zhou Dang did not know why Donggao was a xu person, but only found that there was a Japanese annotation next to this minus score without a preface before and after, he called the score "Hewen Annotation Notation" and included it in Volume VI, and annotated the cloud: "Japanese Donggao Yue Du Duo". It can be said that the Chinese virtuoso knows the Donggao monk, which actually began with Gao Luopei. Until 1958, Mr. Cha Fuxi compiled the "Compilation of Guqin Music Scores", and began to officially record the name of "Donggao Piano Notation". In 1936, Gao Luopei came to Beiping, China, and studied with the famous pianist Ye Shimeng. In 1943, he was appointed First Secretary of the Dutch Embassy in China. When he was in Chongqing, he organized the "Tianfeng Society" with Yu Youren, Feng Yuxiang and other celebrities. He was in line with Qi Baishi, Shen Yinmo, Guo Moruo, Xu Beihong and other literati and pianists Wang Mengshu, Song Qitang, Cha Fuxi, Xu Yuanbai, Zhang Ziqian, Shen Caonong, and Rao Zongyi. Mr. Zhang Ziqian's "Cao Man Trivia" recorded on May 14, 1946: "Defuxi telephone, has come to Apply, and asked the Dutch piano friend Gao Luopei to compose a piano collection. There is no address, and after thinking about the Shaofeng Clinic, you can barely play the piano, and then call the phone. On the evening of the fifteenth day, grass farmers, Yude, Zhenping, and Jiancheng will be invited to come to the meeting. May 15: "In the evening, with the sword at least peak (place), Gao Jun and others have arrived first, and the conversation is very happy." After the meal began to play the piano, Gao Jun played "Nagato", quite kung fu, the plate beat the emblem position is slightly worse, according to yun can play eight or nine songs, foreigners have this degree, especially for piano learning everything, almost omniscient, Yi is surprised. Yu waited for the ensemble and solo several songs, and at ten o'clock they began to disperse with joy. ”
Gao Luopei's academic achievements are multifaceted, covering poetry, calligraphy, painting, seal engraving, etc. The paintings of Qi Baishi, Shen Yinmo, and others often have his upper paragraphs; he also integrated the seals engraved over the years into a seal and was inscribed by Qi Baishi; he had a number of elegant names, pen names, and all of them were personally sealed; he translated Lu Shihua's "Calligraphy and Painting speaking of Plutonium"; and published a huge work of more than 500 pages, "Compilation of Appreciation of Chinese Paintings and Calligraphy" (Rome, 1958). Just like the traditional Chinese literati, Gao Luopei appreciates and collects richly. After his death, all his collection was donated by his family, and the "Gao Luopei Library" was set up at the Institute of Sinology of Leiden University in the Netherlands, which has now become one of the centers of Chinese culture in Europe. In addition, he also examined the gibbon in Chinese literature and personally raised apes to observe, writing "The Gibbon in China Leyden" (1967). While in Chongqing, he married Ms. Shui Shifang, the granddaughter of Zhang Zhidong, and after the famous door, graduated from Qilu University, and her father Shui Junshao was the county magistrate of Tianjin County. The many-year friendship with Dr. Joseph Needham, the author of "History of Science and Technology in China", began at the wedding banquet in Chongqing, and the two of them had academic exchanges, encouragement and even arguments in the future.
Gao Luopei's talent is epitomized in the creation of his novel Judge Dee Mysteries. The book was extremely influential in Europe, and on today's Internet, there are more than a thousand pieces of information about Gao Luopei's name, mostly related to his creation of detective novels. The conception of this novel dates back to the 1940s of the last century. When he was in Chongqing, Gao Luopei read a novel of the early Qing Dynasty public case "The Four Strange Cases of Wu Zetian", he was deeply attracted by the fascinating storyline, so he translated it into English and compiled the "Copper Bell Case", which was a great success after publication, and he continued to write "Labyrinth Case", "Golden Case", "Iron Nail Case", etc., into a group, which was the initial "Di Gong Case". Originally, I planned to put aside my writing, but due to the popularity of the reading circles and the urging of the publishing house, I wrote more than ten books in one go, a total of about 1.3 million words, and printed more than one million. Di Gong novels have been popular in the West for a long time, have been translated into more than ten languages, and have been made into movies and TV series many times.
Because the author has a profound knowledge of traditional Chinese culture, and when writing, he also consulted a large number of historical documents of the Tang Dynasty and the folk tales and legends about Di Renjie, and after careful, serious and rigorous conception and preparation, the novel is not only vivid and interesting, but also has a historical basis for ancient Chinese prisons, criminal laws, customs, etc. While describing Di Renjie's appointments at different periods and in different regions to investigate and solve difficult and major cases, the book also extensively carries out an in-depth depiction of ancient Chinese social life and folk customs. While narrating the story and unfolding the plot, the classics, famous objects, customs, habits, and human conditions of ancient Chinese society are skillfully combined with the knowledge of modern Western psychology and detection. In terms of narrative style and writing skills, it can be said that it is different from both Chinese public case novels and Western Sherlock Holmes detective stories, and has achieved complementarity and integration of Eastern and Western literature. The novel is far more influential than any chinese studies work. Westerners in non-academic circles, who know China, often come from the Di Gong Case. Moreover, this set of novels is appreciated by Western elegance and customs, and its influence is not limited to the popular people who only read popular novels: Professor Belling, dean of the University of California Law School in Berkeley, studied the history of China's legal system, starting from Di Gong's novel.
Gao Luopei's painting achievements are also very high, and all the illustrations of the Di Gong Case and other works on ancient Chinese culture are carefully designed and drawn by himself. He also imitated the ancient Chinese woodcut illustration art very well, which was almost chaotic. On the surface, as a sinologist, Gao Luopei enjoyed a high reputation in the field of ancient Chinese sexology research such as Spring Palace painting and Fangzhongshu. In fact, the origin of his sexology research is his love of Chinese painting. If you continue to trace its origins, Gao Luopei's sexology research actually stems from the needs of his novel creation, but in any case, sexology research, as his side business, has achieved his position as a landmark figure in the field. He is a pioneer among contemporary scholars in the field of research. His two monographs, The Secret Drama Tu kao (Tokyo, 1951) and the Ancient Chinese Room Kao (Leiden, 1960), became his signature works of academic research.
In The West, filed for R. H. Gulik's name, the average person will know that he is a detective novel writer, and some people will know that he is an expert in ancient Chinese sexology. But little is known about his work in Chinese music, especially the guqin. In fact, he published his monumental work Qindao as early as 1940. As Mr. Zhao Yiheng said: "In a sense, the person who has made the greatest contribution to the spread of Chinese culture in the modern West is probably the Dutchman Gao Luopei." ...... In his lifetime, he wrote a lot of works, and his hobbies were three heads and six arms: he was a famous artist and collector, a public case novelist who developed the national essence on behalf of Chinese, and an amateur was better than a professional important sinologist. "In addition to his diplomatic career, he has made great achievements in three areas: academic research, literary creation, and translation. In addition to China and Japan, he has traveled to East Africa, Egypt, India, the United States, South Korea, Malaysia, Beirut and other places. "He himself said that he had three terms in one life: diplomat was his profession, but his work had only temporary significance; sinology was his lifelong career, and scholarship had permanent value; writing novels was his hobby and pastime."
II. Gao Luopei's Virtuoso studies
Qin, in Chinese, in addition to specifically referring to the seven-stringed violin, can also be used as a general term for musical instruments, and even can refer to music. The reason for this is, first, because of its long history; second, because China has been a country that attaches great importance to music education since ancient times, and the main content of music education is to play the piano. The guqin has been going on in China for three thousand years, and it can be said that it has a long history. The first verse of the Book of Verses has the sentence "Lady of the Verses, Lady of the Qinser". In the "Warring States Policy And Qi Ce", there is a record that "Linzi is very rich and practical, and its people all blow the pipe, drum, build, and play the piano..." All this proves that in the pre-Qin dynasty, the qin was already prevalent in our country and had a broad mass base. For more than a thousand years after that, it became a matter of course for readers to use the piano as a companion. It should be pointed out that Gao Luopei's study of the violin was initially part of the pursuit of traditional Chinese culture. Strictly speaking, he was not a musician, and the study of the violin should be an extension of his pursuit as a traditional literati. As mentioned earlier, when he went to Japan in 1935, he became interested in Donggao Xinyue in reading. Let's first look at the situation in Donggao.
In the seventeenth century, Chinese culture spread to Japan and once again entered a climax. "At the end of the Ming Dynasty and the beginning of the Qing Dynasty, Nagasaki flocked to a large number of Chinese. They went to Japan for no other reason than to ask for help, to take refuge, to do business, or to work as translators. According to the research of the Japanese Nakamura Kushiro, after the death of the Ming Dynasty, Chinese to ask for help from overseas, and the most went to Japan. He estimated twenty times. ...... Among the asylum seekers, there were high monks such as Zhenyuan, Kyaw Hai, and Chaoran, who founded the three major temples in Nagasaki respectively, namely, Kiyofuku-ji Temple, Fukuji-ji Temple, and Chongfuku-ji Temple. There is the ease and integration of Teaching Chinese Painting, the Independence of Teaching Pediatrics and Famous for Poetry, the Hidden Yuan Longqi who opened the Japanese Yellow Barberry Sect, and the transmission of Chinese art and food, and the promotion of Tang style sculpture and architecture. And the heart is more and more excited, and the poetry and painting are crowned at a time, and the piano is taught. In addition to the high monks, pure scholars, the first to recommend Zhu Shunshui. "In the second half of the seventeenth century, a large number of Chinese monks and cultural people were dissatisfied with the entry of Qing soldiers into the customs and crossed east one after another, which objectively triggered a profound change in Japan in the fields of politics, economy, culture and art. The study of piano was also at this time in Japan's ZTE.
Donggao monk, surnamed Jiang Xingli, character Xinyue. Ming Chongzhen was born in Puyang County, Wu County, Jinhua Province, Zhejiang Province. In the 34th year of the Qing Dynasty, he died at the Nagasen-ji Temple in Edo Kikuban, Japan. In the sixteenth year of the Kangxi Dynasty (1677), the monk Donggao crossed to Japan in the east, named Du Duoli or Yue Du Duo. Donggao has profound cultural attainments, and its achievements in poetry, books, paintings, pianos, seal carvings, and Zen studies have reached a very high level. His east crossing had a great influence on the development of Japanese culture and art. According to Takeyoshi Inoue's "Records of Random Seeing", in the more than 40 years of Minghe culture alone, the number of People Who Practiced the Piano in Japan grew to hundreds. In the following hundred years, Donggao Qinxue has been passed down from generation to generation, and the genealogy is clear. In April 1958, China's pianist Cha Fuxi visited Japan and visited Mr. Xiaodian, who played "Fishing Tree Q&A" for Chinese pianists. Mr. Xiaodian passed away in 1959.
According to Sugiura Shogun's "Donggao Spectral Sequence", "The finger is corrected according to Zhuang Die'an. Xiangting's "Transmission of the Seven-Stringed Qin" said: "There is a song in the Donggao score that he learned from the Xuanzhou in Middle-earth. "Zhuang ZhenFengzi Butterfly Nunnery, a pianist in the late Ming and early Qing dynasties, authored the score of "The Voice of qinxue", which was published in the third year of the Qing Kangxi Dynasty. The origin of the boat is unknown.
According to Matsui's 1917 publication of Tanqin, there are three kinds of "Donggao Qin Notation" circulating in Japan: 1. Bao Yongzhong, a disciple of Donggao, edited five volumes, collected 57 songs, unzusa, has been scattered, and whether it exists today is unknown. 2. Enjoy and Naka, Sutani Shingen compiled nine volumes, collected 44 songs, and the manuscripts were stored in the Ueno Library. 3. In the wenzheng, Kojima Fenglin compiled three volumes, collected 46 songs, and is the only surviving zi ben. There are also two kinds of Donggao Qin Notation in China: one is the four-volume "Hewen Annotation Notation", which contains 41 pieces, which is in the old collection of Zhou Qingyun and is now owned by the Shanghai Library. The second is the Suzuki Dragon Compilation "Donggao Piano Score", which is not divided into volumes, and Suzuki Ryu is self-prologue: "In the broad text, there is a naturalized monk Donggao Zen Master Xinyue who passes on the disciple Xinfeng Zen Master's biography." In the eighth year of the Ming Dynasty (the thirty-sixth year of the Qianlong Dynasty of the Qing Dynasty, 1771 AD), it was published in 15 songs and is now in the Beijing Library.
Synthesizing the books of Inoue Takeyoshi's "Records of Random Seeing", Xiangting's "Transmission of the Seven-Stringed Lyre", Ibaraki Prefectural History Museum's "Special Exhibition of Donggao Xinyue" and Gao Luopei's "Qindao", the qin brought to Japan by Donggao can be examined as follows: 1. "Yu Shun", which is hidden by Mito Huangmen Gong; 2, "Daya", which is the collection of Gion Temple in Ibaraki Prefecture; 3, "Mangamatsu", Sugiura Clan Collection; 4, "Suyu", renmi Yu Motozo; 5, "Cungu", Donggao transmission and people see bamboo caves, and finally return to the Doji Anyuan, died in the fire in Tianming; 6, " Clouds and Heavenly Sounds", after returning to see the bamboo cave; 7, the name of the piano is unknown, Mito family collection; 8, the United States Xiao Huazang Donggao relics of a piece, the name is unknown.
For a long time, Donggao monks have been respected and loved by the Japanese people, and all walks of life in Japan continue to remember Donggao in various forms. On September 25, 1844, in the fifteenth year of Emperor Hitoshi's reign (1844 CE), the Japanese lyotome Yukido held a ceremony to commemorate the 150th anniversary of The death of Higashigao Shinkoshi at the Tsunade House in Osaka. At the meeting, Xuetang played Donggao's "Fishing Tree Q&A" played by Donggao Xinyue. More than 40 protégés played the piano one after another, and it was the largest piano meeting held in the Osaka area. On November 4, 1926, in the fifteenth year of Taisho (1926), the "Higashigao Shinkoshi Matsuri Festival" was held at Hanzan-ji Temple in Tenmansai-ji Town, Osaka. From February 26 to March 25, 1982, the Ibaraki History Museum in Japan held the "Togao Shinkoshi Special Exhibition" to commemorate the 300th anniversary of Togao's migration to Mito.
After Gao Luopei arrived in Japan in 1935, he studied Donggao in his spare time and spared no effort to publicize the introduction. There is no data to show when he became interested in the guqin, we may as well assume that he was the study of Donggao Xinyue and triggered the love of the guqin. Interestingly, although he is in Japan, he is not as intoxicated with Japanese culture as some Western scholars, but has always admired Chinese culture, and after studying and researching, he also examines the influence of Chinese culture on Japan, which I think is where his vision is superior. In 1936, he came to Beiping to learn the piano from Ye Shimeng and formed a deep teacher-student friendship, so the title page of his book "QinDao" has the inscription dedicated to ye shimeng (this essay is respectfully dedicated to the memory of my first teacher of the Lute Yeh Shih-meng Ye Shih-meng Ye Shih-meng (obiit 1937 aetate 74) a gifted musician and a great gentleman）。 It can also be regarded as the embodiment of traditional Chinese virtues in it.
Gao Luopei's Chinese-style study room, every new appointment, must first arrange the study
Gao Luopei's book "Qindao" is a book with a wide range of precise propositions, profound exposition, a large number of citations, and ancient chinese materials on qinxue that have been carefully translated into English by the author and accompanied by the original text for comparison and annotation, which is rare in violin studies and is still a must-read list for Westerners to understand Chinese and Japanese music. Gao Luopei also made a Chinese post-preface to the book, from which we can also glimpse its deep ancient literary foundation and understanding of the qindao:
"The husband is also inside, and the other is also outside, so Lao Tzu said: Go to the other to take this, the cicadas in the dust, the table of the good and the desolate, but also take the appropriate." Happy out of the middle, so it is one and not the other. However, the music of the piano is the head, the gentleman of the ancients, the invisible, has not tasted a day to abolish the piano, so the honor of the external things to nourish its inner also. Mao Zhai Xiaoran, the value of the breeze whispering, the long moon Linxuan, deeper people quieter, Wan Li Xisheng, browsing the yellow scroll, idle drum green Qi, writing landscape in the heart, the universe in the knee, idyllic forget all worries. It is better to cultivate the mountains by oneself, to clear the clouds and forests, and to the long pines, and to the white cranes, it is self-adaptable. The Tibetan piano is not necessarily good, the music is not necessarily more, the hand should be in the heart, and the Si is noble. At the end of the autumn of the Chengzi, Yu Wanping got a piano, and the Ming and Qing dynasties were lost, without inscriptions, and the sonorous rhyme of Fuzhi had an afterglow. Fu dared to take the risk of Gao Shi to choose a name, mingzhi: nameless. Not to be wonderful to the audience, but to be in line with the purpose of morality. Yu composed the seven volumes of the "Qin Dao", the meaning is not exhausted, and it is more like the right. However, in what you want, you have not titheed. The Dutch nation laughed and forgot about Gao Luopei in the Shibata and the piano room. ”
The book was first published in three issues in 1938 in the Japanese Culture Series published by Sophia University in Tokyo, published by Sophia University in 1940, and revised in 1969. The book is divided into seven chapters and four appendices. The first chapter is "Introduction", which mainly talks about the characteristics of guqin music in terms of timbre changes and rhymes rather than melodic melody. It is pointed out that the two uses of the piano in ancient China are that the literati used to play solo and cultivate themselves, and the other is to accompany them in the gagaku. This chapter also explores the origin of the qin and the ser from a philological point of view. The second chapter, "Ancient Musical Concepts", mainly introduces and summarizes the musical ideas in the "Music Record". The third chapter, "Guqin Research" is divided into three parts, and the first part (Sources) divides the qinxue materials into three categories: miscellaneous items, including the materials about qinqu and qinren mentioned in books, novels, and notes; qin monographs, such as Yang Xiong's "Qin Qingying", Zhu Changwen's "History of the Qin", etc.; and various piano scores. The second part (Origins and characteristics) points out the formation and evolution of guqin philosophy (Confucianism, Taoism, Buddha) thought. The third part, entitled "Discipline and Practice of the Qin people", talks about the environment of playing the piano and extends the various norms of the piano platform, the piano club and the piano. The fourth part, "Anthology of Literature", translates five pieces of violin literature such as Han Yingshao's "Customs and Customs", Yuan Wucheng's "Ten Rules of Qin Yan", Ming Yang Biaozheng's "Miscellaneous Sayings on Playing the Qin", "WuzhiZhai Qin Notation and Ancient Qin Theory", and Qing Cheng Yunji's "Cheng Yi Tang Qin Score and Chuanqin Covenant". The first part of the fourth chapter, "The Meaning of Tunes", points out the importance of "tuning" in Ming Dynasty notation and its comparison with Japanese netori; the second part classifies piano music according to its content: 1. Mysterious journeys, such as "Guanghan Tour" and "Liezi Royal Wind". 2. Historical music, such as "Hu Di Eighteen Beats", "Qu Yuan Qingdu", "Yuanqiao Jinlu", etc. 3. Piano songs related to literary works, such as "Guan Ju", "Lu Ming", "Leaving the Troubles", "Returning to the Word" and so on. 4. Describe natural scenes, such as "Xiaoxiang Water Clouds", "Mountains", "Flowing Water", etc. 5. Describe the life of literati, such as "Night Talk at the Guest Window". Gao believes that most traditional piano pieces can be classified into the above categories, and guqin music is characterized by its title. The fifth chapter, entitled "Symbolism", explains the extremely symbolic meaning of the names of the various parts of the piano, and discusses the preference of Chinese for dragons and phoenixes; translates the humble "Sixteen Laws of The Sound of the Piano"; and explains the symbolic meaning of techniques and fingerings. The sixth chapter, "Connections", points out the things that have been closely related to the qin in history, and discusses the relationship between the qin and the crane, plum, pine, sword, etc., as well as related to famous historical stories. The seventh chapter, "Conclusion", briefly reviews the history of the guqin; focuses on the situation of the qin in the Ming Dynasty; describes the current situation of the qin and points out the future development of the qin music.
In addition to the seven chapters of the main text, the book has four appendices, namely "Western Guqin Literature", "Chinese Guqin Literature", "Qin as an Antiquity", and "Chinese Guqin in Japan, all of which are important materials related to violinology." In particular, in the last appendix, Gao Luopei made a detailed review of the circulation of Chinese violinology in Japan, and revised in detail the circulation of flat stringed instruments in Japanese literature and the differences and connections with the piano in The day before Donggao Xin went to Japan. The system of Japanese violin inheritance he listed is still an important source for the study of Japanese violin.
Prior to writing the book, Gao Luopei had written an article in 1937 entitled "A Study of the Qin Ming", which was published in the Japanese "Shushu" Volume 1, No. 10. Since ancient times, the qin people have a tradition of engraving inscriptions on the back of the piano, the inscription generally records the age of the piano and the maker, some are based on the characteristics of all aspects of the piano and the interests and goodness of the maker, collector and user, engraving a meaningful name or poem, and some remember the simple circulation process of the piano. Although the Qin Ming is enjoyed by the Qin people, it is rare in the history of the Chinese guqin to be a special researcher. According to the Japanese "Essence of the Dynasty", in the eighth year of Kuanping (the third year of Tang Zhaozong Qianning, 896 AD), Haseya wrote the "Baoqin Ming of the Past Dynasties". Gao Luopei's "Study of Qin Ming" is not to be commented on for no reason, but one thing is certain, with its rigorous academic attitude, profound academic skills, unique research field and profound academic vision, the academic value of the article should not be questioned. In Tokyo in 1941, he also published Ji Kang and His Piano Fu.
Third, the enlightenment given to us by Gao Luopei's academic research
1. Rigorous academic attitude. Gao Luopei wrote a word, and wrote in English, which can be called a high yield. However, in academic research, there is no nonsense, and there is rarely subjective speculation, and the conclusions made are based on a large amount of possession data. This is inseparable from his diligence and extensive reading. The literature involved in the book includes both the history of the dynasties and the history of the wilderness, as well as various types of books, series of books, notes of the literati, as well as the piano books and scores of various dynasties. The skillful use of literature is surprising to Chinese scholars, who "know almost everything about piano learning", which is difficult for ordinary people, let alone a foreigner. In addition, there are several impeccable points in academic norms. All ancient texts, titles, personal names and special terms quoted in the book are translated into English with Chinese original text. The same is true of Japanese literature, with more phonetics in the names of people and books. At the end of the book, there is a 13-page index that lists all the technical terms (including book titles and personal names) that appear in the book, and indicates the page numbers and numbers of occurrences. In terms of academic ethics, he never appropriates materials for himself, emphasizes the sharing of materials, and practices them personally. When you find valuable information, the first thing that comes to mind is to make it public as soon as possible for study. For example, after discovering the printed edition of "Flower Camp Jinjing", he said: "Since I had a fortunate opportunity to put the printed version of this Ming Dynasty Spring Palace Album in my hands, I feel the responsibility to make these extremely rare materials available to serious researchers." In the "Preface" of the book "Ancient Chinese Room Examination", Gao Luopei also expressed the same meaning.
2. Unique research areas. Gao Luopei's academic research never picks up people's wisdom and wisdom, but always can find another way, starting in places that ordinary people tend to ignore or areas that ordinary people dare not touch. For example, the study of Donggao, the study of qinxue, the study of Spring Palace painting in the Ming Dynasty, the study of ancient Chinese sexology, the study of gibbons, the case of Di Renjie, and so on, are all in this situation. His research is by no means a superficial end, but must first exhaust the information, and then rely on his good academic qualities to explore in depth. Therefore, even today, it is difficult for other European and American sinologists in these fields to surpass him.
3. Deep academic vision is also a necessary condition for Gao Luopei's success. For example, when writing "Qindao", the author can put the guqin in the context of the entire Chinese culture to examine it, avoiding narrow and one-sidedness. This is also the author's consistent academic style, such as the "Secret Drama Tu kao" after carefully combing the literature and pointing out: "All these original texts gathered together will be translated, and their contents will be analyzed and examined in the context of China's social structure." In his writings, some topics have not even been concerned by China's academic circles, such as the aforementioned study of "Qin Ming", etc., and the book "Qin Dao" also published a very insightful examination of the "Gold and Silver Ping deqin" in the shocangyuan collection.
Although Gao Luopei is not a musician, just like his love for traditional Chinese culture, his pursuit of piano art is also his lifelong pursuit. In the 1930s and 1940s, he traveled to Beijing, Nanjing, Shanghai, Chongqing and other places, making extensive pianists; in the 1950s and 1960s, he traveled to Hong Kong many times to practice piano skills with Ms. Cai Deyun, who settled in Hong Kong. His book "Qindao" is still the most detailed and authoritative book on guqin literature, history and aesthetics written in English. It does not just stop at the level of introduction, but in many aspects there is in-depth research, independent insight. In his broad vision, he can not only examine the piano in the context of the entire Chinese culture, literati life, and social psychology, but also compare the piano with the musical culture of the Far East, South Asia, East Asia and other countries and regions.
The 2001 National Day was written in Xisheng Pavilion