Monday, November 30, 2015

花藝史

袁宏道《瓶史》研究
http://www.lib.must.edu.tw/catalogs/MHJ/doc/MJ031002.pdf

袁宏道《瓶史》
http://ctext.org/wiki.pl?if=gb&chapter=673093&remap=gb

袁宏道《瓶史》(English)
http://www.nzasia.org.nz/downloads/NZJAS-Dec03/5.2_7.pdf

隋唐的插花學 春盤賦 與 花九錫

花九锡 唐 羅虬

花九錫亦須蘭蕙梅蓮輩,乃可披襟。若芙蓉躑躅望仙山木野草,直惟阿耳,尚錫之雲乎。一、重頂帷(障風);二、金刀(剪折);三、甘泉(浸);四、玉缸(貯);五、雕文台座(安置);六、畫圖;七、翻曲;八、美醑(賞);九、新詩(詠)。


春盤賦  唐 歐陽詹

多事佳人,假盤盂而作地,疏綺繡以為春。叢林具秀,百卉爭新。一本一枝,葉陶甄之妙致;片花片,得造化之窮神。日惟上春,時物將革。柳依門而半綠,草連河而欲碧。室有慈孝,堂居斑白。命聞可續,年知暗惜。研秘思於金閨,同獻壽乎瑤席。昭然斯義,哿矣而明。春是敷榮之節,盤同饋薦之名。始曰春兮,受春有未衰之意;終為盤也,進盤則奉養之誠。儻觀表以見中,庶無言而見情。懿夫繁而不撓,類天地之無巧;雜且莫同,何才智之多工。庭前梅白,蹊畔桃紅。指掌而幽深數處,分寸則芳菲幾叢。呼噏旁臨,作一園之朝露;衣巾暫拂,成萬樹之春風。原其心匠始規,神謀創運。從眾象以遐覽,總群形而內蘊。彼有材實,我則以短長小大而模;彼有文華,我則以元黃赤白而暈。故得事隨意制,物逐情裁。凝神而珍奇競集,下手而芬馨亂開。不然者,欲玩扶疏,須買青山以樹;要窺菡萏,待疏綠沼而栽。將以緩愁予之思,將以逞吾人之才。此一作也,察其所由,稽其所據,匪徒為以徒設,誠有裨而有助者也。

淺談文人插花
http://florist.org.tw/D/d7607.htm

明代花藝理論研究,以張謙德《瓶花譜》為核心
http://www.lib.must.edu.tw/catalogs/mhj/doc/mj033005.pdf

理念花─以「善」為出發點的插花藝術
http://www.florist.org.tw/D/d7535.htm

Want to buy this book...
http://www.wtoutiao.com/p/h33iin.html

中华花艺第一人黄永川:花里乾坤
http://m.91ddcc.com/t/72737


瓶史(明)袁宏道
夫幽人韵士,屏绝声色,其嗜好不得不钟于山水花竹。夫山水花竹者,名之所不在,奔竞之所不至也。天下之人,栖止于嚣崖利薮,目眯尘沙,心疲计算,欲有之而有所不暇,故幽人韵士得以乘间而据为一日之有。夫幽人韵士者,处于不争之地,而以一切让天下之人者也;惟夫山水花竹;欲以让人,而人未必乐受,故居之也安,而据之也无祸。嗟夫,此隐者之事,决烈丈夫之所为,馀生平企羡而不可必得者也。幸而身居隐见之间,世间可趋可争者既不到,馀遂欲欹笠高岩,濯缨流水,又为卑官所绊,仅有栽花莳竹一事,可以自乐。而邸居湫隘,迁徒无常,不得已乃以胆瓶贮花,随时插换。京师人家所有名卉,一旦遂为余案头物,无捍剔浇顿之苦,而有味赏之乐,取者不贪,遇者不争,是可述也。噫,此暂时快心事也,无狃以为常,而忘山水之大乐。石公记之。凡瓶中所有品目,条列于后,与诸好事而贫者共焉。

Having eschewed the pleasures of both song and sex, it is to the mountains and the rivers, to flowers and to bamboo that the mind of the recluse of grace and learning turns in pursuit of its divertissements. Mountains and rivers, flowers and bamboo invoke no questions of fame or reputation and lie quite beyond the reach of our impatient scramblings for fortune. The ordinary man, stuck as he is along the precipices of hubbub and within the swamps of profit, his eyes blinded by worldly dust and sand, his heart taxed by his various schemes and calculations, finds himself without the time to enjoy the pleasures afforded him by such things, even were he of a mind to do so. The recluse of grace and learning, by contrast, seeks to avail himself of every opportunity to take possession of that which happens to come his way, if only for the duration of a single day. Dwelling as he does in a place of non-contestation, the recluse of grace and learning is defined by the fact that he relinquishes all things to other men under Heaven; only the mountains and the rivers, flowers and bamboo, these, even were he prepared to relinquish them to others, others would not necessarily be willing to accept. So it is that he lives therein in peace, his possession of these things incurring no calamity [Beneath the laughter his anger and resentment run deep indeed].

Alas, this is a matter of the recluse, the conduct of a hero of considerable resolve, whereas all my life, although I have desired to be such, I have proven incapable of insisting upon it. Fortunately, however, it has been my lot to have oscillated between spells in office and periods of reclusion and if I cannot hope to obtain that which everybody else hastens towards and competes over, I do nonetheless wish to doff my bamboo hat on the heights and to wash my chin-straps in the flowing waters. In this pursuit I have been fettered by the minor official postings that have come my way and the only joys afforded me have been the cultivation of flowers and the planting of bamboos. Even in this respect, my official residences have proven small and mean and moreover I have constantly been transferred hither and thither (忽東忽西),迁徒无常 so I have had no alternative but to have recourse to gall-bladder shaped vases and cut flowers, 不得已乃以胆瓶贮花 changing their arrangements in accordance with the alternation of the seasons. 随时插换 In this way, all the most famous blossoms in the possession of the men of the Capital have all of a sudden become objects of display upon my table. Without having to endure the ordeal of grafting and weeding, watering and bending my back, I have luxuriated in the joy of smell and sight afforded me by flowers, never needing to covet the flowers I pick or compete for those that I happen to encounter [Ah – joy indeed!]. All this, I can write about, and yet such things are but the momentary pleasures afforded one’s mind, and to which one should never become habituated at the cost of forgetting that great joy inspired within one by the mountains and the rivers themselves [A reminder to himself as much as to anyone else!]. I, Master Stone, have made the following record therefore, listing below both the nomenclature and the rankings of the vase, to be shared with all men who are afflicted by the same craze as myself but whose circumstances are similarly impecunious [“…to be shared with… [the] similarly impecunious” – excellent, truly excellent].

Saturday, August 29, 2015

Left thumb pressing 大指按


Left thumb pressing: the thumb and index finger shape as imagining a phoenix holding a roll of paper in its beak.


Incorrect posture -- X
Correct posture -- O



"拇按而食覆" literally means thumb pressing and index covering over. 
Please see master Wu Zhao-ji's left hand posture of the thumb and index finger.

Thursday, April 2, 2015

格古要論 古鏡


唐代真子飛霜鏡. 充滿道家思想.
Dec 13 2014 to Apr 26 2015 an exhibition of A Discovery from the Maritime Silk Route at Aga Khan Museum, Toronto, Canada. And there is this one bronze mirror from Tang dynasty

格古要論 
古鏡
古人鑄鏡 必用青銅 制作精緻 惟唐鏡紐最高大 故諺云"唐大鼻"

"真子飛霜" 之名來自傳說中的古神仙玄真子以及唐李沇的
方响歌 的最後兩句

敲金扣石声相凌,遥空冷静天正澄。宝瓶下井辘轳急,小娃弄索伤清冰。
穿丝透管音未歇,回风绕指惊泉咽。季伦怒击珊瑚摧,灵芸整鬓步摇折。
十六叶中侵素光,寒玲震月杂佩珰。云和不觉罢余怨,莲峰一夜啼琴姜。
急节写商商恨促,秦愁越调逡巡足。梦入仙楼戛残曲,飞霜棱棱上秋玉。

用音樂表達了人們對超然塵世的追求
http://sou-yun.com/Query.aspx?type=poem1&id=26723

The 4 Chinese characters on the mirror are Zheng Zi Fei Shuang. Zhengzi is a legend daoist master. Fei Shuang "Flying frost" might came from a Tang poem. 李沇的方响歌. Together it might be trying to give the image of that music can bring us to aloof realm.

Monday, March 23, 2015

格古要論 - 古香爐

古香爐
上古無香 焚蕭艾 尚氣臭而已 故無香爐
今所用者 皆古之祭器 鼎彝之屬 非香爐也
惟博山爐 乃漢太子宮中所用香爐也 香爐之制始於此
多有象古新鑄者 當以體質 顏色辨之

感想:
今人彈琴喜焚香
想或許是從漢以後才有的喜好 (博山爐也有說法是在周代就有人使用)
但也或許在焚香的同時引用了古人祭祀的與神會合之心態在其中


西漢初已有許多專門用於焚香的香爐, 但大多造型簡單. 據說"博山"香爐的來由是因漢武帝好薰香, 欲追求長生不老, 於是命人模擬道家傳說中的東方海上仙山"博山"的景象制成博山香爐. 北宋呂大臨<<考古圖>>中有博山香爐圖, 可見以下link.