Tuesday, November 15, 2016

要入無形必先有形. 要收斂必先茂實.


"凡文章先華麗而後平淡,如四時之序,方春則華麗,夏則茂實,秋冬則收斂,若外枯中膏者是也,蓋華麗茂實已在其中矣。" -- 宋代詩人 吳可 [藏海詩話]
彈琴亦如是, 要入無形必先有形. 要收斂必先茂實.
所以回到指法. 彈琴首重指法. 還要讀書.

"All literatures start out brilliant and flowering, only to become, later on, plain and bland." This later period is, then, their "autumn" and their "winter."

The time of blandness is thus delineated by nature; the cycle of the seasons, the logic of which plays an important role in Chinese thought, serves to justify this final phase of the dissolution of abundance and inward retraction." 

"there is the awareness that blandness in this sense can only be attained after a period of development — that it is the fruit of a certain maturity."  -- Francois Jullien [In Praise of Blandness]


Playing the qin is like that too. Before entering shapeless, is having existing shape. Before blandness is having plenty. So go back to fingerings and study.

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《次韻和永叔夜坐鼓琴有感二首》
年代: 宋 作者: 梅堯臣
舜琴曰朕有,語舜鬱陶乎。
孝悌怨則否。傲狠愧豈無。
我嘗撫卷嘆,嘆此孟氏書。
此書有深意,仁義世久虛。
公今乃有感。其不在茲歟。
魚躍與鶴舞,物情曾未殊。
無情則無應,何必問鳥魚。

古琴的美是超越聲音的美, 他還必須包括心靈的美. 人若是感情豐富, 會感應到對很多細微的存在. 會對更多的人事物有所感動. 聽琴時. 聽到的則是更多的touching, and understanding. 知音難覓並非虛言.

聽琴, 喜歡靜夜聽朋友彈的琴, 而非專業表演者舞台上彈的琴, 因為intimacy makes people more relax and more closer to true self. 可彈琴人必須要心無罣礙, 並知道自己在彈甚麼. 如果連自己都不知道自己的情感在哪, 無情則無應,何必問鳥魚... :)