Tuesday, September 30, 2014

疾視盛氣者 機心未忘也



今早在池塘邊練習手抱無形氣球隨著呼吸調氣, 運轉身體各處關節, 再沿著池邊練習慢走, 一步一腳印. 仍舊可以感覺到自己的氣不順調, 受前兩日無知小人挑釁所擾. 想到孔子說的:唯女子與小人難養也. 一直就對這種說法很不認同, 如今確實能瞭解這話的意思了. 不管是小人還是女子, 對於不明事理, 鬥氣過旺之人, 確實不好相處. 只有再度回到自己內在的調修.

又剛巧讀到列子的其中有關於至柔之道,郭象解釋說:聽耳之所聞,視目之所見,知止其所不知,能止其所不能,用其自用,為其自為,順性而不競於物者,此至柔之道也。以及紀渻子為周宣王養鬥雞 的故事,郭象之解:養之以至於全者,猶無敵於外,況自全乎?恃氣以自矜,非必勝之道也。應物疾速如影響者,為物所轉,未必自得也。疾視盛氣者,機心未忘也。唯忘形神,全死生,不知變者,斯乃無敵於外物也。

真是古人的智慧千萬年受用.

再把鷗鷺忘機拿出來聽聽: https://soundcloud.com/peiyouqin/innocent-seagulls




Thursday, September 25, 2014

my 吳門琴譜


話說因為打譜[列子御風], 便想瞭解列子, 於是乎讀起[列子] 其中黃帝篇提到鷗鷺的故事:
Because of dapu [Liezi Rides on Wind], I want to study the book of [Liezi]. In the Huangdi Chapter, there is this story that the qin piece "Innocent Seagulls" was taken from.

海上之人有好沤鸟者,每旦之海上,从沤鸟游,沤鸟之至者百住而不止。其父曰:“吾闻沤鸟皆从汝游,汝取来,吾玩之。”明日之海上,沤鸟舞而不下也。故曰:至言去言,至为无为。齐智之所知,则浅矣。
There was an old fisherman who sailed the ocean. The seagulls were so used to him that they flew so close that he could pet them. Later on, one day when he came home, his father said to him " Why don't you bring one or two seagulls back with you, so that I can also enjoy looking at them?" So the next day, the fisherman went back to the ocean to try to see if he could catch some seagulls. But somehow, as soon as he had this idea, the seagulls all flew too high and never come down to him as before. Therefore, some says that the greatest words is not saying, the greatest act is no act. To use one's mind (knowledge or wisdom) to compete with others, that is very shallow. It can also means that an opportunistic mind can be sensed by others and that if we do not harbor such thoughts, we can live in harmony with nature and others. 

於是乎又拿出my 吳門琴譜再把[鷗鷺忘機]一曲重溫一下, 對照了自遠堂的鷗鷺忘機, 發現吳老有做一些微妙的改變. 多處有"立" (撞)皆省去, 三段尾加了撮的指法增加一些合絃音使整曲至此力量加強, 意境更為引人深思. 可感受到吳老對此道家曲的審美意念.
So I took out my Wumen Qinpu to review the piece "Innocent Seagulls," against the Ziyuan Tang Qinpu (Qing dynasty) where this piece was originally from according to Master Wu's tablature. I noticed that Master Wu made subtle changes such as omit the "zhuang" technique at several places and at the third part, add "Cuo" technique to one phrase. All these subtle changes shows Master Wu's idea of this Daoist piece. 

翻看my 吳門琴譜目錄, 吳老選彈之曲可感受他的理性中有感性的精神. 沒有太讓精氣神起伏過大之曲. 完全有著清微澹遠與世無爭之自我修心養性的本質.
Checking the index, one can find that all the pieces in this qinpu shows Master Wu's spirit of the harmony of rational and emotional. 

請聽我於9/26/2014 新錄的鷗鷺忘機: Please listen my newly recording of "Innocent Seagulls" https://soundcloud.com/peiyouqin/innocent-seagulls




為什麼要說是"my 吳門琴譜" 實在是這本對我來說太珍貴. 再一個月就是我開始學琴至此已整14年.  眼角不由得泛起感慨的淚水.

I call this qinpu "my Wumen Qinpu" because it is so special to me. And I just realized that one more month, it will be exactly 14 years of my qin learning age. My eyes cannot but surged of tears.

教師節在即, 由衷感謝引我入門的師父
Teacher's Day is coming, I truly appreciate the Shifu who guide me into the Guqin world. 

Tuesday, September 23, 2014

善游者之數能也,忘水也

"能游者可教也,輕水也:善游者之數能也,忘水也" -- 語出列子黃帝

能够游泳的人可以教會他,是因為他不怕水;善于游泳的人不需要學習自己就會,是因為他忘了那是水. 
哇~這太有得悟了...

Liezi said that you can teach a person to be able to swim if this person is not afraid of water. And a person who is adapt in swimming do not need to learn how to swim, and when it comes to swim, he is a natural, because he does not remember there is water.

Worth of thinking...

那麼真正會彈琴的人是不記得有琴的存在...不為外物所動...?
So, can I say that a person who is really mastering in playing the guqin do not aware that there is a qin exist while playing, and will not be influenced by outside objects... ?


列子的思想很接近莊子, 並善用譬喻... 要想學會一樣本事首先不能害怕不要懷疑; 然後要想將這個本事完善到最高境界就是要忘了你是在做這個本事這件事, 忘了所有做這個本事的目的, 野心, 欲望, 等等.從"輕水" 到"忘水" 中間就一字 - "練"
First of all, in order to learn a skill, one must not be afraid, not to have doubts; then if one wants to improve this skill to the highest level is to forget what you are doing this ability for, and forget all the aims, ambition, desire, etc. 
From "not afraid" to "forget all about it", in between, there is one word - "practice."

Monday, September 15, 2014

善品鑒者不彈琴, 善彈琴者不品鑒
















袁中平先生的"琴學講義"反覆讀之, 不同時期有不同的體會, 受益良多. 並也思及自己過去這十幾年來琴學路上的跌跌撞撞. 是必需要這麼跌撞, 體會才會深刻.

"善品鑒者不彈琴, 善彈琴者不品鑒..." 袁先生此語真是一語打醒, 讓我回想自己, 也看到周遭有學琴者一兩年,三四年,便開始評論什麼人彈的琴好, 什麼人彈的琴不好. 如今我彈琴十四載, 越發見著自己的不足, 以及見著以前見不著之處. 越發覺得如葉大哥說的"各類的藝術門徑皆是尊貴" ... 

可這樣的從懵懂到跌倒再到爬起, 我想這過程是必經的, 我便也能釋懷. 現只想,也更加能專注在自己找到的路. 希望能用有限的生命力一門深入, 不受外境影響,混濁了內心清靜的一潭湖水. 向
自己內在不斷探索, 所看到的悟到的都將是我這一生受用無窮的財富.

Reading Master Yuan's "Qin Xue Jiang Yi" back and force, different time different enlightenment. I really enjoy reading it although still many area of his thought, I have not able to reach there yet. 

Monday, September 8, 2014

向己心修去

四年不見業師
一見仍就是會讓我失眠
太震盪了我的心
誰教平常日子過得太安逸

以前見不著自己
遇問題或覺得不舒服處常會用逃避處理
以為是避開問題源
就不會煩惱
(師問;為什麼回台灣不去見他要去見那些什麼什麼人?
無奈我多半也是在逃避)
其實是不敢正視自己的恐懼
不敢正視就找不到問題真正出在哪
會老是向外責求
以為是外在因素使然
如今
越悟越快
發現是己心的問題
是自己環境教育經驗等等造就思維概念模式下產生的心的問題



不過有些仍是自然力量無法抗拒
比如DNA
比如女性網狀思維 很不容易由一點做線性深入鑽研
因此反應快卻不深入
這麼想想也就不那麼責就自己 喪失信心

凡事一個"練"
要做線性思為也還是可以訓練

師說:你聽不進去 too stubborn

我說:因為懷疑

其實光說懷疑太攏統
這中包含沒有實際應證的東西我很難馬上理解
懷疑是希望自己能消化應證
可這包含自己既定的思維模式
包含過去所受的教育人文經驗等影響
並不是對師刻意的不尊重
只可惜從小就沒有訓練說話表達能力
這又可回朔兒時父母與我們對話的時間太少
與雙胞胎姊姊的"得意忘言" "心領神會"的長大過程太長(20幾載從出生)

因此現在常會想用文字來慢慢整理自己的思維
與自己的心做功課
可有沒有發現--> 思維跑的比打字還快太多了
要想寫下所有的想法又想用正確的文字
也是幾乎近嘔心瀝血之過程

人生快過半百了
力已漸不從心
打字打的心悸頭暈又慢慢浮上來

想到再續吧~





Saturday, September 6, 2014

網上古琴教學費用 Skype Guqin Lesson Fee Reduced

為推廣網上古琴教學
讓更多想學琴卻苦無老師在您所在的附近的朋友
自2014年九月起
木上絲網上古琴教學費用減25%
請大家多多利用這個優惠 

To promote on-line Skype Guqin lesson, From Sep 2014, my guqin on-line teaching fee will reduce 25%. Hope to benefit more qin lovers who cannot find a qin teacher near by. For more detail, please e-mail me peiyouqin at g mail.com.

Tuesday, September 2, 2014

清微淡遠- 青山的"遠"

第一次讀徐青山的溪山琴況是在十三年前. 經過十幾年的彈琴經驗, 以及人生經驗, 到今天才能說約略能感受到什麼是徐青山的二十四琴況中的"遠" 的意味.

"遠以遲似, 而實與遲異. 遲以氣用, 遠以神行."

所以"遠"是精神層面的不是物質或物理(彈琴指法技法)的層面.(相對於清, 微, 淡), 遠,是一種藝術欣賞.

"蓋音至于遠, 境入希夷, 非知音未易知, 而中獨有悠悠不己之志. 吾故曰: 求之絃中如不足, 得之絃外則有餘也"

許健先生也在[虞山派的清微淡遠]中論過"遠" -- 他說: 成功的演奏可以使人"音至于遠. 境入希夷" 引導人們深入奇妙的藝術境界. 浮想聯翩. 意趣無窮. "而中獨有悠悠不己之志" 所謂"得之絃外則有餘"

老子說:視之不見名曰夷, 聽之不聞名曰希

"遠" 不是聽到音樂的什麼音什麼調, 而是聽到音樂後所產生的情感想像