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].

Friday, November 20, 2015

風入松

宋的琴待詔朱文濟 金陵人 專以絲桐自娛 不好榮利
宋太宗要將琴絃由七條加到九條 當時另一位琴待詔蔡裔 因為贊成太宗 而被賜獎賞(緋衣, 深紅色衣)與官位
可朱文濟依舊不為所動 仍穿綠衣 藍縷貧困
有一天太宗還想以金帛賞赍(ji) 誘惑文濟並把九絃琴置於文濟前要他彈奏
文濟不得已 只好彈了但仍舊只用了七條絃在彈
宰相還問: 此新曲何名?
文濟回: 古曲[風入松]也.

史載朱文濟 風骨清秀 若神仙中人

北宋很多琴僧皆師從朱文濟 最有名的是慧日大師 慧日又傳 知白 義海等僧人
文濟曾著有 [琴雜調譜] 十二卷
現已佚

[風入松] Wind in the Pines, or Wind Through the Pines
hong lip xiông
fung1 jap6 sung1

[謝林太古遺音]解題: 乃嵇康所作也 康為人清狂曠達 高於音樂 詞調品格播之絃歌者 多類此 蓋得知清響條暢 尤為世珍玩者也

Ming dynasty Qin books such as [Tai Gu Yi Yin] noted: This piece was composed by Ji Kang who was a broad-minded person and behave unbridled. He was talented in music and poetry. His compositions are more like this one that has clear and flourishing sound. Many generations treat his works preciously.

其歌詞如下: Lyrics with Pinyin and English Translation: 閩南語讀音用紫色標註 (Hokkien dialect use purple color) 廣東話用紅色標註(Cantonese use red color)
(http://twblg.dict.edu.tw/holodict_new/index.html)
(http://www.yueyv.cn/index.asp?keyword=%B7%E7)

西嶺松聲落日秋
Xīlǐng sōng shēng luòrì qiū
Saī líng xiông xiann làu li̍t tshiu
sai1 ling5 sung1 sing1 lok6 jat6 cau1

West mountain ridge has sound of Pines and autumn sun set.

千枝萬葉風飀飀(音流, 風吹動的樣子)
qiān zhī wànyè fēng liú liú
tshian ki bān hio̍h hong liú liú
cin1 zi1 maan6 jip6 fung1 lau4 lau4
Thousand branches and ten thousand leaves shows the wind blows.

美人援琴弄成曲
měirén yuán qín nòng chéng qǔ
bí-jîn uān khîm lāng xîng khik
mei5 jan4 jyun6 kam4 lung4 sing4 guk1
The beautiful person ( or a person with virtue) plucking the qin composing a melody. 

寫得松間聲斷續
xiě dé sōng jiān shēng duàn xù
xiá dit xiông gan xiann duān xio̍k
se2 dak1 sung1 gaan3 sing1 tyun5 zuk6 (zo)
Writing within the pines and the sound is intermittent.

聲斷續
shēng duàn xù 
xiann duān xio̍k
sing1 tyun5 zuk6
Sound is intermittent

清我魂
qīng wǒ hún
tshing ngóo hûn
cing1 ngo5 wan4
Clear my soul.

流波壞陵安足論 (壞陵 指廢墟土墩)
liú bō huài líng ān zú lùn
liû pho huāi lîng an jiok lūn
lau4 bo1 waai6 ling4 on1 zuk1 leon6
Can flowing waves and ruined mounds enough to describe? 

美人夜坐月明裏
měirén yè zuò yuè míng lǐ
bí-jîn yā tsō gue̍h bîng 
mei5 jan4 je6 zo6 jyut6 ming4 leoi5
The person with virtue sits under the bright moon light,

含少商兮照清徵
hán shào shāng xī zhào qīng zhǐ
kâm xiàu xiong hae jiò tshing ji 
ham4 siu3 soeng1 hai4 ziu3 ceng zi2
with the sound of Shao Shang (similar to Rui) corresponding with Qing Zhi (similar to Sol).

風何淒兮飄飉 (飉 疾風聲)
fēng hé qī xī piāo liáo
hio̍h hô tshe hae phiau liáo
fung3 ho6 cai1 hai4 piu1 liu4
The wind is such bitter cold and blows fast.

攪寒松兮又夜起
jiǎo hán sōng xī yòu yè qǐ
kiáu gân xiông hae iū yā khí
gaau2 hong4 sung1 hai4 jau6 je6 hei2
Stir up the wintry pines and dark night.

夜未央
yè wèiyāng
yā  ng
je6 mei6 joeng1
Night is not yet ended.

曲何長
qū hé zhǎng
khik hô tn̂g
kuk1 ho6 coeng4
The melody is such long.

金徽更促聲泱泱
jīn huī gèng cù shēng yāng yāng
Kim huī gìng tshiok(qiok) xiann iong iong
gam1 fai1 gang1 cuk1 sing1 joeng1 joeng1
The golden hui (the dots on the qin) even promoting more of the disgruntled sound.

何人此時不得意
hérén cǐ shí bù déyì
hô jîn tshú xî put tik-ì
ho6 jan4 ci2 si4 bat1 dak1 ji3(yi)
Who is the person at this moment feeling self-unsatisfied?

意若絃悲聞客堂
yì ruò xián bēi wén kètáng
ì ná hiân pi bûn kheh tn̂g
ji3 joek6 jyun4 bei1 man4 hakk3 tong4
Whose mind as the string with sorrow sound is heard in the guest hall.







請聽伏見先生的演奏




Just by now, an hour ago, I was playing this piece by trying having variety of rhythm, and really feel this process is like composing, you did not write the notes, but you give the notes timing, and that is not easy, because you still need to consider the emotion based on the lyrics. And different rhythm does present different feelings of emotion.

Please listen my playing: 請聽木上絲的演奏:
https://soundcloud.com/peiyouqin/wind-in-pine

打譜後記:
這首小曲很不容易入耳入心
開始打譜時很多排斥感
始終未能被曲調感動
但仍舊不斷去找出不同的旋律感
幾個夜晚不斷地嘗試不同的節奏取捨
耳能接受了
心也能接受了
於是錄下紀錄
I had difficult time to appreciate this short melody.
When I started dapu, I was a little agony about it.
Took me a while to feel touched.
I did not stop trying different rhythm and way of playing,
couple nights later, my ears accept it, and my heart accept it.
Therefore I recorded it.



Thursday, November 12, 2015

古琴推廣的使命

紐約市已有三個古琴社團了 不多 但從一到三就是一種成長 顯示古琴在海外的成長
可是能用英文來傳遞古琴文化精隨的團體與個人卻是少之又少
紐約琴社或許可以說是唯一盡力於雙語推廣古琴文化的團體

多半能聽聞見著的仍是以個人音樂或創作或為名或為利之表演
或自家人用著自家語其樂融融的度過快樂的古琴音樂時光
又 或著 少許懂得琴道的人 深居簡出沒沒無聞 不與人往來 過著隱士般的生活


對琴道的認知與推廣 真有多少人關心?

人們最關心的還是自己

自己對外的影響是否也應該要有意識

紐約琴社的Alan J. Berkowitz 於今年夏天驟然去世 是一大英才痛失
能精通中英文又會彈古琴並了解古琴文化的琴人或學者
屈指可數

曾有人說推廣古琴只能用中文
因為中文太博大精深 英文是不能傳達的
可我卻覺得正是因為這種難度
更需要菁英份子如高羅佩 如林西莉等人的存在

可這樣的人如何尋?如何培養?
我覺得這才是推廣古琴文化到海外的最重要使命
會彈琴的人太多了
可要能把這思想文化傳遞出去就需要不同語言的幫助

當然凡人事物都有其氣質
順其自然 則 能成便成
不能成也無須強求
似乎是道家與琴家的本質

那麼如野雁成群飛翔的
由一地到另一地所需的
領導, 互助, 互諒, 互信 的"獸性" 都能為的自然行為
是否真是值得琴人深思實踐的呢?







Sunday, November 8, 2015

袁先生講琴的指法與音樂結構的關係摘要

袁先生講琴的指法與音樂結構的關係摘要

不包含情緒 意境 學養等 只談指法與音樂結構的關係
結構上總的說:
指法 --> 音 --> 樂句-->  段落 --> 曲


1-1 2-1 3-1 2-2 2-3 ...

由指法決定節奏

古琴曲不是沒有節奏 也不是自由節奏

賦(大曲) 賦是爲平鋪直敘
比   (樂句 段落)compair, contrast 比就是比喻,有明暗之分
興 (音 樂句)興即爲起興,以無關事物爲聯想入手,引出詩人的感歎

起 承 轉 合

所以指法非常重要 門派彈法Style不同應只是音的duration 的不同

打譜要忠於原譜 如果說是打譜就不能自己添加或更改
如果有自己的添加或更改 就不能說是打譜
但我對吟猱綽注等連接音與音的這些手法譜上沒紀錄 但彈的時後會自然而然加入 能說是自己的表現還是說忠於原普不應加入?
如果按我昨聽袁老師的意思就是打譜要忠於原譜不能加入
如果加入了就要說是自己的詮釋
就不再是打譜了
並且我同意John T的說法 譜子就像老師 你先跟老師彈的一模一樣
學會了以後就可以自己再發揮

not remember all well but understandable what Master Yuan was talking about.

-----------------------------------------------------------------
just want to put something else here in case I forgt
星期六晚音樂會結束後跟Matthew老 一起坐火車回NJ
車上我們聊音樂
M老聽很多西方古典音樂
我問他是怎麼欣賞古琴音樂
M老說有時他會去聽音樂結構 有時他寧願不要先去知道標題或背景故事 直接欣賞音樂本身及演奏者表現出的情緒
演奏者必須要很清楚知道自己為什麼那樣表現
如果演奏者自己都不知道為什麼那樣表現
聽眾也不會有所感動

hmm... that is nice to think about