Sunday, January 29, 2017

Journals from FB 2017 January

Wild geese descending to sandbar
Artist: Unidentified Artist
Period: Joseon dynasty (1392–1910)
http://www.metmuseum.org/toah/works-of-art/1992.337/



 《蘇武慢·雁落平沙》 年代: 宋 作者: 蔡伸
雁落平沙,煙籠寒水,古壘鳴笳聲斷。青山隱隱,敗葉蕭蕭,天際暝鴉零亂。樓上黃昏,片帆千里歸程,年華將晚。望碧雲空暮,佳人何處,夢魂俱遠。
憶舊遊、邃館朱扉,小園香徑,尚想桃花人面。書盈錦軸,恨滿金徽,難寫寸心幽怨。兩地離愁,一尊芳酒,淒涼危欄倚遍。盡遲留,憑仗西風,吹乾淚眼。
A poem from Song dynasty by Tsai Shen
Seeing geese landing on a sandy bank in a cold evening, thinking of his getting old, and far away from his home town and his lover. Good old memories coming back. His sorrow of departing from her cannot be fully described by playing the qin. He was hoping having a cup of wine, and let the western wind dried out his tears of loneliness.
1/31/2017
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I see unbalanced me inside. There is fire and winds. I intend to extinguish the fire, but I shouldn't, I need it to lighten my way when it is dark. I want to ride on winds, but I am tied up with rules. I have full of water that they are easily to discharge. I don't have gold, I want a lot of gold, real gold...
真金不怕火煉, 沒有金才會一直想要把火熄滅.
Real gold is not afraid for fire refining
Only when lacking of gold, one wants to extinguish the fire. 

1/31/2017
------------------- silently, you walked away... left behind is the colorful and colorless world that is always there and haven't gone anywhere.




1/31/2017
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菁菁者莪,在彼中阿。既見君子,樂且有儀。
Photo was taken from the book [The Chinese Classics] by James Legge.

菁菁者莪,在彼中沚。既見君子,我心則喜。
菁菁者莪,在彼中陵。既見君子,錫我百朋。
泛泛楊舟,載沉載浮。既見君子,我心則休。

朋:上古以貝殼為貨幣,十貝為朋。
Peng: Ancient time using shell as money, 10 shells is a Peng.
君子: 有德之人, 或詩中女子愛慕之人. In this book, the translation of Jun Zi is referred to the king. Yet many believed that the original poetry was from a young girl telling her happiness to meet her loved gentleman.

1/30/2017
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一念之間
千絲萬縷
載沉載浮
華髮已生
Soon at the moment a thought switch to another, in between, 
there were countless feeling as ten thousand silk threads bounded together.
Sink and float, sink and float,
Until white hair has grown.




1/30/2017 晨思起 午手扎
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若要尋古人琴音之精神, 嵇康之琴賦乃不可不讀之書, 高羅佩的翻譯有助瞭解,
If one wants to find ancient Chinese spirit on the Guqin, another wonderful book to read-- [Hsi K'ang and his poetical Essay on the Lute] -- R.H. Van Gulik

Here is one page in the Van Gulik's book. And I would like to quote some of his translation:
...Having understood the style of the melody, one must observe the rhythm, correctly reproducing the various transitions, in tempo, but keeping the right measure. One must shun specious effects, and concentrate on one's play, abiding by the rules, playing on quietly. Then the tones shall be imposing and expressive, they spread out, vastly expansive. ... 應變合度 競名擅業 安軌徐步 洋洋習習 聲烈遐布...

[十一] 的全文翻譯: [The opening bars of a lute melody are] strong like lofty mountains, or again they resemble heaving waves: broad and generous, majestic and imposing. Then the tones become more irregular, halting as if in sorrow, and dragging on like rustling garments. Then again the melody expands, tones rise as bubbling weaves, they open up like blossoming flowers. Having understood the style of the melody, one must observe the rhythm, correctly reproducing the various transitions, in tempo, but keeping the right measure. One must shun specious effects, and concentrate on one's play, abiding by the rules, playing on quietly. Then the tones shall be imposing and expressive, they spread out, vastly expansive. Distinctly and clearly they end, and finally the coda in 'floating tones' echoes faintly the main motif of the melody.

琴人必須敏感與多情 
A qin player should be sensitive and affectionate to subtlety 
琴聲方有靈魂能動人
Then his or her music will have soul and affecting.
敏感- 對聲音敏感, 對指法敏感, 對情緒敏感, 對旋律敏感.
多情 - 對山川有情, 對花鳥有情, 對人有情, 對生命有情.
Sensitive - sensitive to sound, sensitive to fingerings, sensitive to emotions, sensitive to melodies and rhythm.
Passionate - affectionate to the mountains and rivers, to flowers and birds, to human and to life.
1/29/2017
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My music is my soul. Priceless. It only touches the same soul.

1/29/2017
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下雪了, 今日的雪輕柔軟綿. 
撿一首韓愈的《春雪》
新年都未有芳華,二月初驚見草芽。
白雪卻嫌春色晚,故穿庭樹作飛花

Tang Dynasty Hanyu's [Spring Snow]

New year has come, but still haven't seen pretty flowers, In the early of the second month, startled to see grass shoots. The white snow thinks the colors of spring are late, So through the pavilion and trees it flies like blossom.

1/26/2017


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Why am I infatuated with snow? It covers the death and life, brings an illusion that the world is peaceful. 
吾何如戀雪? 生死均予覆, 實承平幻象.
Went home last night in rain. Woke up this morning with a transitory excitement.
昨晚雨中歸 晨暫喜見雪





1/24/2017
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"the great artist, strives for banality." "The greatest work of art is the one that will at first be overlooked, the one nobody will even notice." Such a work is the expression of an equilibrium in which "the most contradictory qualities... breathe" in unison. Just as with the bland work of art, it is necessary to "contemplate [classic works] over a long period," "for them to surrender their deepest significance," "so secret is their inner vibration." Then, behind their "apparent aloofness," one may discover "their most exquisite quality": their "reserve." -- Francois Jullien [In Praise of Blandness]
偉大的藝術家, 致力於不譁眾取寵. 他們的作品, 一開始很可能不被人注意. 但其內在所呈現的震動以及外在所呈現的幽遠是他們含有的最美妙的特質.
朱端 秋船圖 Ming Dynasty, Zhu Duan, Autumn Boating. Now in Museum of Fine Arts Boston.

Joe Berendt "I have created nothing, I have only transmitted". From Francois Jullien - The Great Image Has No Form.

Peiyou Chang That is what I often feel when I play the ancient guqin melody, that I am just an agent to transmit the sound.

1/22/2017
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第一次看這個影片的時候覺得有些地方怪怪的, 但擺開我對泡茶的傳統觀念, 再仔細聽, 仔細看, 發現很可愛, 也很有意思. 可以聽出講者對茶的用心認知. First time watching this video, I felt something not matching my subjective thinking about pao cha 泡茶. After couple times watching, and removed my old way of thinking, I found it very cute and meaningful. I can hear the tea host's cognition and his heart to Chinese Tea.

A Chinese tea aficionado sets out to serve wu long teas to a friend's cats. While going through the motions of preparing and serving the teas to the cats, he lectures them about tea and bitterness hoping to initiate the felines into the quasi-celestial beauties of Chinese teas.

1/22/2017
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Late Ming dynasty monks around Yun Nan, Gui Zho and Si Chuan provinces.

普荷,(1593-1683,一作1673卒)〔清〕僧,本姓唐,名泰,字大来,云南晋宁人
http://baike.baidu.com/view/2120164.htm

讀體(1601-1679 年),號見月
http://www.zwbk.org/zh-tw/Lemma_Show/116385.aspx

一夢漫言
http://www.cttbchinese.org/fayubinfen/?p=3901

《般舟三昧經》介紹了從觀想念佛或持名念佛上升到實相念佛的一種特別的修習方式——般舟三昧,又譯為“佛立三昧”。它把大乘般若思想和禪觀之術結合在一起。其修法以七日或九日為一期,日夜經行,不可坐臥,專念諸佛,能於空中感十方諸佛,特別是無量壽佛在三昧中立於眼前。當修行者到達此一境界時,經由觀察自心作用,了解諸佛現前皆是自心作用幻化,實則本性空寂,就能進入般若智慧的空性見之中。
1/21/2017
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"予者筆斷意含,如山之虛廓,樹之去枝,凡有無之間是也。" -- 明, 李日華[竹嬾論畫] ... 試想彈琴, 有無之間, 音斷意含, 是心拍心念取意. 無不是沒聲音, 而是音與音之間的氣, 因此要了解右手播完絃之後, 左手如何處理上一個音跟下一個音的連接. 這是我想強調的.
When we look at those outstanding ancient Chinese paintings of mountain and trees, we see the atmosphere is harmonized as a whole. The painter's brush did not really connect every subject with all the lines, but the mind and energy has been connected within ink and space. --> Trying to think that when playing the qin. Once the right hand plucked a string, how to connect the next note with the left hand so the mind, the energy is connected. That space between note and note is our mind, our heart rhythm. It is not soundless. There is still sound there. That is what I want to emphasis.
1/17/2017
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Bronze qin and iron qin from freer gallery
 小蓬萊人 豐氏原學

1/17/2017
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Very beautiful sound. Mr. Li Youxin played on silk string qin. 
Song of Spring Dawn

The first one (he just uploaded on 1/11/2017) "O Lu Wang Ji" (Innocent Seagull) was played on metal string iron qin. Sounds very good. 第一首鷗鷺忘機是鋼絲絃, 古鐵琴, 聲音很不錯.

His 3rd piece "Song of Unfasten the Sward" 解劍引, silk string, is a song I never heard before and from the Ming dynasty qin handbook which I never heard before either. Very nice as well. 明 掛劍齋琴譜 第一次聽到這名.

1/14/2017
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Idle
guitar with qin
mutual opposition is transcended 
"bland and natural" emerge

1/12/2017
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"Encountering Sorrow" a beautiful played by Miss Yu Qing-xin who passed away at the end of 2015.
離騷
1/12/2017
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http://www.readers365.com/hualun/index.htm

1/12/2017
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"凡畫譜稱某家畫法者,皆後人擬議之詞,畫者本無心也,但摹繪造化而已。吾心自有造化,靜而求之,仁者見仁、智者見智可也。泥古未有是處。
春山如美人,夏山如猛將,秋山如高人,冬山如老衲,各不相勝,各不相襲。
竊謂學畫與鑑畫不同。鑑畫不可絲毫假借,學畫者宜隨時隨處皆有領略,故曰:“青出於藍,冰寒於水。”
春山如美人,秋山亦如美人。春山如美人之喜,秋山如美人之愁。西子捧心,玉環齲齒,固是別有態度。
閒則功力厚,靜則智慧足,淡則旨趣別,遠則氣味長,四美具謂之畫。." -- 戴熙

Dai Xi (Chinese: 戴熙; pinyin: Dài Xī; Wade–Giles: Tai Hsi) (1801 – 1860) was a Chinese painter of the 19th century and representative of the academic manner. His sobriquet was Chunshi (醇士) or “Pure-Minded Scholar” and his pen name was Yu'an (榆庵) or “Elm Retreat”, among others.

Dai Xi talked about too stick to imitating ancient masters art works is not a good thing. Spring mountain is like a beauty. Summer mountain is like a fierce general. Fall mountain is like a lofty spirit man. Winter mountain is like an old monk. They all have their own special quality and not imitating each others. Learners should enlightened from all sources, and can do even better than their teachers. Casual while holding rich skills; quiet while full of wisdom; bland while subjects and meanings are distinguishable; light while atmosphere is deep and long; those are the 4 beauties of the art of painting. (As Renjie says, Chinese painting shares the same Dao as the Guqin.)

1/12/2017
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observe inside myself, what was the intention? if it is "love," was it a "love" that will harm others and self, then that "love" need to be purify, and turn it into something beneficial for the soul.

1/11/2017
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This came into my mind -- When I looked at your eyes, I asked myself: Can you see what I see? Then I answered: no, because you see what you see. We will never be able to know at the same moment, what the other sees? I often try to image by changing my view point to yours. But I see nothing, or if there is something, it is blurry.

1/10/2017
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每次讀葉大哥的文都很有感動. 1/10/2017
忠於自己
一個人只要能忠於自己,就是很高的成就了;或者說才可以有很高的成就。
忠於自己的前題,必須先了解自己。可能我們尚不能了解生命的究竟根源,但至少我們要了解自己此生的天質丶使命。有些人終其一生也未必能真正了解自己。
忠於表現自己的才華、才能,不迎合權貴、不取嘩衆口,不隨波逐流。也不倨傲丶不孤僻,不自卑丶不自憐,不固步自封。
忠實於做自己,不做自己不喜歡做的事,在自在寡欲中逐漸的成就自己。
我想在此超然的自我成就中,亦必能成就別人,也能為後人留下一些至誠至美的東西的。
2017/1/11 凌晨手札
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Il me faut retourner aux anciennes amours :
L'Immortel qui naquit de la Vierge Thébaine,
Et les jeunes Désirs et leur Mère inhumaine
Me commandent d'aimer toujours.
Blanche comme un beau marbre, avec ses roses joues,
Je brûle pour Néère aux yeux pleins de langueur ;
Vénus se précipite et consume mon coeur :
Tu ris, ô Néère, et te joues!
Pour apaiser les Dieux et pour finir mes maux,
D'un vin mûri deux ans versez vos coupes pleines;
Et sur l'autel rougi du sang pur des agneaux
Posez l'encens et les verveines.

English


 I must return to the loves of old:
 The Immortal One, born of the Theban Virgin,
 And youthful Desires and their cruel Mother
 Command me to love anew.
 
 White as beautiful marble, with her pink cheeks,
 It is Neaera I burn for with her languishing look;
 Venus rushes up and consumes my heart:
 You laugh, O Neaera, and frolic!
 
 To appease the gods and end my woes,
 Fill your goblets with two-year-old wine;
 And on the altar, stained with lambs' pure blood,
 Set the incense and verbena.

https://youtu.be/Fih1qN2-63c

1/10/2017
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The path that leads to this art, then, is that of passion — of attachment. The conditions for embarking on this road are "possessing a clear awareness of what conforms to our interest and what harms it" and "allowing nothing to escape our attention": "that an emotion burns within, and the desire inspired by this interest is ready to confront anything in order to move forward; and, whether we win or lose, we feel ourselves to be carried away and completely engaged." -- Francois Jullien [In Praise of Blandness] 
Pic: Calligraphy by Tang dynasty master Zhang Xu

"...為旭有道,利害必明,無遺錙銖,情炎於中,利欲鬥進,有得有喪,勃然不釋,然後一決於書..." -- 韓愈[送高闲上人序]
 "Such is the tension that electrifies the Master's calligraphy and lends it its powerful fascination. Born of intoxication and pathos, it incites us

to exultation." -- wow, is master zhang xu's calligraphy really that powerful ?


1/9/2017
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It is the internal sense of musicality that matters (as opposed to its material, and thus external, production). 音樂的內在感覺比起外在表現更重要.

1/9/2017
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Without seeing it with your own eyes, touching it with your own hands, hear it with your own ears, everything is just imagination.

1/8/2017
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溥心畬 (1896-1963) 墨荷 (Ink Lotus)
附上北宋 黃庭堅的 詩一首
《東林寺二首·其一》
白蓮種山淨無塵,千古風流社里人。
禪律定知誰束縛,過溪沽酒見天真。
種在東林山中的白蓮香雅淨潔,讓人聯想到白蓮社中那些曠達飄逸的高士。如果能透過外相來看,一定能夠知道誰的心性沒有被束縛。那常常跨過虎溪去飲酒的陶淵明,他的心性多麼率真天然。

"外枯而中膏,似澹而實美" The reason why we value the dry and bland is that, if the outside is sere(乾燥枯萎), the inside will be lush(豐富的).

1/8/2017
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花犯 詠梅 (周邦彥)
粉墻低,梅花照眼,依然舊風味。
露痕輕綴。疑凈洗鉛華,無限佳麗。
去年勝賞曾孤倚,冰盤共燕喜。
更可惜,雪中高土,香篝熏素被。
今年對花最匆匆,相逢似有恨,依依愁悴。
吟望久,青苔上,旋看飛墜。
相將見,脆圓薦酒,人正在,空江煙浪裏。
但夢想,一枝瀟灑,黃昏斜照水。


Invaded by Flowers

To Mume Blossoms

Zhou Bangyan

Over low rosy wall appear
The mume flowers, dazzling the eyes
Still as last year.
Lightly adorned with dew, you rise
Like a beauty of the day,
With powder washed away.
Last year I leaned alone on your tree,
Drank and ate from the plate ice-bright.
It is lovely to see
Snow-covered mume carefree
Like a perfuming bamboo basket under coverlet white.

In face of your flower this year, I feel time is fleet.
You seem to be grieved when we meet,
Looking still so languid and sweet.
For long I croon,
And see you fall down on green mosses soon.
I would like to eat your fruit fine
While drinking wine.
I seem to be
In mist and on waves free,
But still I dream
Of your detached branch over the evening stream.

1/7/2017
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蘇軾 – 念奴嬌 (赤壁懷古)
SU Shi – Lyrics to Remembering Your Charm (Remembrance of the Tale of the Crimson Cliff)
(pls see Eng translation from the link in the comment)
大江東去,浪淘盡,
千古風流人物。
故壘西邊,人道是,
三國周郎赤壁。
亂石穿空,
驚濤拍岸,捲起千堆雪。
江山如畫,
一時多少豪傑。
遙想公瑾當年,
小喬初嫁了,雄姿英發,
羽扇綸巾,
談笑間,
檣櫓灰飛煙滅。
故國神遊,
多情應笑我,早生華髪。
人生如夢,
一尊還酹江月。

1/6/2017
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司空圖二十四詩品
一) 雄渾 Force-Incipiency
大用外腓,真體內充。反虛入渾,積健為雄。具備萬物,橫絕太空。
荒荒油雲,寥寥長風。超以象外,得其環中。持之非強,來之無窮。
二) 沖淡 Harmony-Blandness
素處以默,妙機其微。飲之太和,獨鶴與飛。猶之惠風,荏苒在衣。
閱音修篁,美曰載歸。遇之匪深,即之愈希。脫有形似,握手已違。
"We recall, too, that the first critic to praise poetic blandness, Sikong Tu, placed his poem "Harmony-Blandness" second in his series of twenty-four; "Force-Incipiency" was first, since in its wake blandness was thought to reveal itself. In other words, faced with the harmonizing power of blandness, there is first a surge of vitality: when the trace of the brush does not tend toward a fading away, but presses forward with the violence of an explosion — when it is still bursting with vehemence and fire, virtually crying out with passion and life." -- Francios Jullien [In Praise of Blandness]

1/5/2017
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綠樹青苔半夕陽 各自雙雙

around 3pm I saw the sun light outside was nice after the shower of ice rain, and took this photo. I like moss and sunset. I also find a Tang dynasty poetry by Feng Yian Si, and took his last phrase to go along with this photo. 采桑子·花前失却游春侣. Like many Chinese poetry, the poet used indirect and beautiful way to describe his loneliness.
花前失卻游春侶,獨自尋芳。
滿目悲涼。縱有笙歌亦斷腸。
林間戲蝶簾間燕,各自雙雙。
忍更思量,綠樹青苔半夕陽。
--唐 馮延巳

1/4/2017
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The first day of 2017 is the day I first see a Veena and hear it in live. 中國七弦琴遇見印度七弦琴.








中國七弦琴遇見印度七弦琴.
Bill Mak: 印度Vīṇā實際上指至少三種不同的樂器,古代印度的弦琴漢譯為箜篌,類似緬甸彎琴。現代的Vīṇā夾雜了不同文化的影響,帶點波斯和中亞色彩。

Peiyou Chang: 這對印度姊妹有介紹到三種Vina. 同時也介紹他們學各種不同的音階, 每彈一曲必在一個音階內使用被允許用的mother音 and daughter 音 去improv.

Veena made with jackfruit wood 波羅蜜木
similarity with the qin: 7 strings with 13 dots. The thicker strings are away from the player and the thinner strings are closer to the player. There are tiny sound holes on the wood. The 13 dots on Veena thou is not for harmonics (the overtone sound positions).

David Badagnani: The original instrument called "vina" in Sanskrit was probably an arched harp. The ancestor of the pipa, the kacchapa vina or kacchapi, was also a type of vina since the word "vina" came to mean any string instrument (as the word "qin" is used in China). The one Peiyou featured is the Saraswati vina which is similar to the sitar, but without sympathetic strings or movable frets.

David Badagnani: This is how the original kacchapa vina looked. It was transmitted north to the Buddhist kingdom of Kucha (Xinjiang) from Gandhara (North India/Pakistan/Afghanistan) before Sui times, and the Chinese in Chang'an then adopted it as the pipa.

David Badagnani: The rudra vina which is a fretted tube zither and an extremely interesting instrument, especially needs the gourds for resonance since its body is so slender. Gourds are used worldwide for resonance on string and sometimes also wind instruments.

About notation:
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12/31/2016




FRENCH LYRICS of À Chloris by Théophile de Viau (1590-1626)
S'il est vrai, Chloris, que tu m'aimes,
Mais j'entends, que tu m'aimes bien,
Je ne crois point que les rois mêmes
Aient un bonheur pareil au mien.
Que la mort serait importune
De venir changer ma fortune
A la félicité des cieux!
Tout ce qu'on dit de l'ambroisie
Ne touche point ma fantaisie
Au prix des grâces de tes yeux.
ENGLISH TRANSLATION of À Chloris by Théophile de Viau (1590-1626)
If it be true, Chloris, that thou lovst me,
 And I understand that thou dost love me well,
 I do not believe that even kings
 Could know such happiness as mine.
 How unwelcome death would be,
 If it came to exchange my fortune
 With the joy of heaven!
 All that they say of ambrosia
 Does not fire my imagination
 Like the favour of thine eyes.
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"Blandness does not demand that we look for another meaning or embark on a quest 
for a hidden mystery. Rather, it invites us to free ourselves from the 
differentiating nature of meaning and of all particular and marked flavors. Rather 
than setting up tension, the blandness of the margin delivers us from all 
constraining obsessions. It creates ease. It unburdens consciousness, for this 
transcending is not directed and does not lead toward anything other than itself." 
-- Francois Jullien
至虛無生
超越要或不要
結果就是不要. 因為不要反而存"有"


"夫至虚无生者,盖是般若玄鉴之妙趣,有物之宗极者也。" 不真空論. 晉. 僧肇
 "At this stage, he who has said nothing provides nothing that can be refuted, and "phonemes, sounds, and ideas have no use." Tasting
substitutes for knowing; it is the only true aspiration." 心領神會 無聲勝有聲

12/25/2016
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"愛是以肯定價值及創造價值的態度把自己轉向對方", Love is the attitude of turning the value of positive and creativity to others from oneself.


12/25/2016