Wednesday, December 12, 2018

讀陳拙[琴籍]遺篇

琴工



徽法 (明徽暗徽法)

明徽即是十三個點徽, 暗徽乃明徽與明徽之間的徽分位.

弦論



合弦法


指法

楊元錚先生撰寫的 "唐代陳拙[琴籍]殘帙的厘次" 一文中說... 陳拙(指法), 內容龐雜, 不盡是陳拙所作...
元錚此文對陳拙[琴籍]的還原, 條理分明. 思路縝密. 拜讀的同時拿出琴書大全來對照, 多有助益. 以下就把琴書大全上陳拙的部分po 上, 希望能越見分明.
詳見琴曲集成第五卷 [琴書大全] page 160-177 ("琴書大全"就是"永樂琴書集成". 永樂琴書集成為明成祖撰,成書於永樂六年,西元1409年)


I   指訣 (佚)
II  號指法
散聲
泛聲
木聲 (在琴書大全內沒有說明, 應如楊元錚整理, 見下列C)

(A) 右手運指法
a, 下指
大絃至四絃, 提腕下指, 重聲多用, 輕聲用少. 四絃至七絃, 低腕下指,
輕聲用多, 重聲用少

       b, 指分上下 -- 1, 大指 (大指是分裡外, 掌心為裡)
                                2, 食指
                                3, 中指
                                4, 名指 (食中名都是向徽位為上, 向自己為下)
                                5, 單弦上用指
                                6, 兩弦相並分指 (two strings next to each other)
                                7, 隔一弦兩弦分指 (such as string 5 and string 7, or string 4 and 7)
                                8, 隔三弦分指 (such as string 3 and string 7)
                                9, 三弦相間取三聲分指
                              10, 對過隨句末聲分指


絃間隔小,用名食,或中食
絃間隔越大,改用中指與大指
上下應是指上絃(一到三或四絃)下絃(四到七絃), 然後有掐起時, 對應掐起的那個音
的應合音就會有不同的分指, 一為散音的分指,一為按音的分指

      c, 指分遠近 -- 1, 起聲
                               2, 逆聲
                               3, 順聲 
                               4, 平聲 

右手取聲遠或取聲近,是以靠岳山為遠, 靠七徽為近. 所以從岳山到七徽都是右手可以取音的位置, 不是只能在一徽與岳山之間. 滾弗甚至可以到五六徽間了, 顯示連續音可以柔取.
樂曲一開始通常取近先, 再取遠, 由輕柔到剛強
泛音則是靠岳取, 聲音清脆強亮
如果取音先遠後近是為順聲, 先近後遠是為逆聲
都在同一徽位上取聲則為平聲

Tang Dynasty Chen Zhuo Guqin Fingerings mentioned that there are the terms "near taking and far taking" which refer to plucking positions of the right hand of qin playing.  'Near' means closer to the 7th hui, while 'far' means closer to the bridge (the Yue mountain) and not less than two inches from the bridge. 
When plucking closer to the bridge, the sound will be stronger, while plucking away from the bridge, the sound will be softer. For example, to strum several strings, like the "gun fu" technique, one can take between the 5th and 6th hui.
Harmonic sounds can be more clear and bright when taking near the bridge. 
Usually the starting notes of a piece can be taken away from the bridge, then followed by taking closer to the bridge to make a softer start. 
When playing several notes at the same hui area, it will create an equal sound volume. 
Most of the playing is around the 1st hui area.

(B) 左手按弦法 Left hand Pressing Method
       a, 用按
觀念: 手腕帶動手指, 如吟猱(手腕先左右動), 如連按三條絃或連按四條弦(手腕向上提一點, 手指依序施壓在七六五四弦)
The wrist will lead the finger, such as doing yin and nao vibratos, and when pressing several strings. When pressing several strings, the wrist will rise gradually a little bit in order to have the pressing finger shift force to string 7, 6, 5 and 4, for example. 

From Yao Bingyian's [Tang Dynasty Chen Zho's Thesis of Guqin Fingerings] 
順吟 就是撞吟. 撞完吟兩三聲 Zhuang Yin: Do the yin vibrato 2 to 3 times after the Zhuang technique.
逆吟 就是敦吟 敦完吟兩三聲 Dun Yin: Do the yin vibrato 2 to 3 times after the Dun (same as Dou, the opposite of Zhuang) technique.
注吟與綽吟是注下或綽上後少息,再吟兩三聲. Zhu Yin and Chuo Yin: Do the yin vibrato 2 to 3 times after the Sliding Down or Sliding Up. There is a pause before the yin vibrato action.

關於猱 閃 撋, 等說明,見下面(C)

       b, 單按 -- 1, 單按一聲作用
                        2, 單岸上下分聲分韻 (Single pressing, then goes up and down, with resonance)
                                  i 起頭 (The sliding Chuo up and Zhu down has to be 'hiding the beginning,' no starting point, but the end point is on the indicated hui position. If it is a slow starting, then the hidden beginning is further away from the end point. If it is a faster starting, then the hidden beginning is closer to the end point.)  

                                 ii 承聲
                                iii 就聲
                               iiii 接韻 ("絃"韻應為"接"韻)
                              iiiii 余韻



                        3, 單按相連兩聲
      c, 并按 -- 1, 大指并按
                       2, 食指并按
                       3, 中指并按 
                       4, 名指并按
                       5, 換指并按
       d, 歷按
       e, 兩按
       f, 應律
       g, 飛弦





以上三頁, 木聲以下, 見楊元錚的整理, 列到了 (C). 稍微解釋一下, 楊是以表格方式陳列, 我用 I, A, a, 1, i 明列如下
姚炳炎先生[唐代陳拙論古琴指法]是把"取聲指法有七" 改列到他的第二章, 丙, 聲法 之下. 而姚先生的第二章的乙," 彈琴用指(指法)", 以及琴書大全內的"撫按手勢"之後的"彈琴用指," 按楊元錚所說, 彈琴用指非陳拙自己作的, 也非陳拙整理的. 而是獨立於陳拙指法外的指法書. 原因是陳拙的絃名專用一, 二, 三, 四, 五, 六, 七. 而彈琴用指中則專用宮, 商, 角, 徵, 羽, 文, 武.
   
(C) 取聲指法 
       a, 吟 (大指吟)(骨節著面, 節邊純肉按弦, 來往細動而吟)
       b, 振 (食指振)(綽上至徽, 細細用力, 往下猛振)
       c, 蹴 (中指蹴)(急細往來)(有承聲蹴; 有節蹴, 就是先有聲, 停一下, 再做細吟)
       d, 敏 (名指敏)(按絃右左細颯)(颯: 如風聲, 當有柔細之意)
       e, 偷吟 (感覺有如今之定吟, 無名跪指用偷吟)
       f, 二憾 (裏憾, 外憾, 聲後憾, 承聲憾) 其聲沉細而清, 類撞(外憾), 及敦(裏憾)
       g, 搖指 (感覺像是長吟- 左右不住搖, 其聲清麗) 
       h, 圈 (當徽按絃, 指面圓轉一遭, 有先往裏也有先往外)
       i,  猱臑(音鬧)有五:正猱(聲後猱),上猱(倒猱,聲前猱),下猱,夾徽猱,再猱
       j,  撋 (ruán 揉搓, 以上重點均在掌腕左右的搖動, 或可理解為短猱的一種?)

吾以為吟振蹴敏都是細吟(次數上是往來細細吟動數次, 幅度很細), 是分別不同指頭給出不同名稱. 雖在不同指頭, 但道理都是一樣. 如果道理都是一樣, 又有"往下猛振" 又有"颯" 那也就是說還包含了力道是往下比往上強勁一點, 左右一強一弱

的話, 次數上應該是只有往左或往右快速來回一下, 但又不比撞敦力道強或幅度大(唯撞敦有雄壯之聲). 而憾的音質是沉細乾淨清楚.

搖指 有承聲, 有聲後, 有先往裏後往外, 也有先往外後往裏, 有左右不停地搖動.  搖指的音質是清麗.

圈 當徽按絃, 指面圓轉一遭, 有先往裏也有先往外, 感覺是指左右來回有一畫圈的形貌.

憾指, 搖指, 圈, 都如水影搖花, 都與吟相類似,  四指均用.

要了解, 先把正猱搞懂. "撫按見聲, 猛引徽上, 急下至徽, " 因此次數是只有一上一下, 感覺類似撞, 但可能比吟的幅度大, 但又比撞的幅度小. 且時間點比撞要早一點. 

上猱會讓我感覺像是有奐的感覺, 是承聲, 是聲前, 在方向上是綽上超過指定徽位再上去一點點, 然後回到指定徽位. 幅度不大,  

下猱是上猱的相反方向但同理. 次數上有一遍, 兩遍, 三遍者.

夾徽猱 次數上是一上超過徽位,一下超過徽位,再一上回徽位, 方向上也是有兩種方向, either 先上, 或either 先下. 力道上是只有在最後回到徽位時是實聲, 前一上一下或一下一上都是虛聲.

再猱就是正猱完後再加一上(復至徽上少許)

"爭" 有差別的意思. "猱撋一類, 唯爭取聲長短, " 就是說猱和撋的差別在於取聲的長短, 猱長, 撋短. "猱亦有長短, 長猱離徽遠取, 短猱離徽近取. 猱和撋都是停止的時候不應到徽位, 不拘定處. 
有"奐" 的意思. 按指要有力, 要實在(有體). 如風荷覆水, 這就要向大自然多多觀察觀察. 看到了荷花與荷葉被風吹動的動態, 確實是在一個中心體上, 帶圓圈式的搖動, 並且那個搖動還會因荷葉, 荷花的重量, 產生實實虛虛, 作用反作用力, 並且停止時是無定處. 跟"吟" 的水影搖花是不一樣的風情與力作.



運徽 Right hand plucking, the nearest way should not passing the 6th hui (to the left). The left hand stand by position should not passing the 7th hui (to the right)
尋絃 Plucking and pressing the first string, usually use both middle fingers.
換指 Changing fingers (both hands have changing fingers)
    (a) 右手
          1, 兩換指 such as muo gou, or gou da etc,.
          2, 三換指 such as Lun and Qian.
    (b) 左手
          1, 兩換指 同聲法內的疊玉, 但聲法已佚, 姚註: 即"小蟹行"食中兩指向後退按.
          2, 三換指 同聲法內的貫珠聲. 姚註: 即"大蟹行"... 吾註: 食中名三指按同一條絃.右手用抹勾打, 神奇秘譜的廣陵散小序止息有此指法(但似乎也是三對指)
    (c) 對指 both right and left hand using same order of the fingers
          1, 單對指
          2, 兩對指
          3, 三對指


    (d) 起伏 姚註: 下指起指不可草率, 尤其"暫停伏歇", 更要聲斷意連.
          1, 右手  須分上下遠近.
          2, 左手 姚註:摯音至, 當空執住, 喻手勢也. 掣音撤, 曳(drag, pull) 也
          3, 礙指 不解, 感覺像是虛罨起.
          4, 結聲 姚註:摭起是韻後臨起, 摭似有聲, 比滔要輕, 不能像抓起一樣出一實聲.
          5, 按絃起伏 應是指吟猱撞逗一類之有上起下伏, 上輕下重之勢.
     
          1, 兩字句節奏
          2, 三字句節奏
          3, 四字句節奏
          4, 五字句節奏




     (f) 手勢
          1, 取聲手勢 
                 i 昇降手勢 (似只在說左手大指走絃上下時的手勢)
                ii 打圓手勢 (重點在如指劃圓)
               iii 散擘挑歷手勢 (存疑)
              iiii 按歷手勢 (重點在承聲, 應, 就按, 再歷)

          2, 撫按手勢 (右手撫左手按, 選定24聲, 右手12, 左手12, 像是歸類總結)

III 聲法 (佚)
IV 聲用 (佚)

V  韻用  韻就是出聲了以後還有一些剩餘的鳴響 Yun: After the sound is created, there is still some remaining sound and that remaining sound is Yun, (resonance).
       綽起 這綽起與現在的綽上不一樣, 綽起是聲後綽上或下, 有起無止, 當空散
       摭起 同現在的帶起, 推出, 比掐起輕.
       浮引, 浮抑 引是上, 抑是下, 與綽起有點像但不當空散, 而是要摭起. 浮引同"閃" 浮抑同"閃下," 可"閃"是列在"聲用"已經遺佚. 而"急閃"聲畢是不摭起的.  
       浮對過, 意對過 姚炳炎先生解浮對過"近於虛罨," 就是類似把現在的對掐起,大指不實作掐起,而是空起不掐, 讓餘韻出在名指罨下去的那聲. 意對過則如浮對過, 但名指不在一個實音徽位上. 感覺意對過所產生的韻可能是帶有一點半音, 或不在一個全音上或半音上之內的任何一音.

琴書大全內 的單絃上七法應該是寫在抹勾, 勾打等之前, 而疊, 衮, 度 應該列在三絃上三法之後, 緩全扶等應在兩絃上三法之後.



VI 聲訣

    聲同疾徐異 
    (A) 單絃上七法
    (B) 三絃上三法
    (C) 兩絃上三法

   聲法雙音 (兩絃如一聲)
   聲法重作 (重複其聲)
   聲分剛柔 (似乎與右手撥絃的位置, 近岳山或近六七徽, 產生的剛柔有關)
   名別聲相類 (名稱不同而聲相似, 見姚丙炎[唐代陳拙論古琴指法]註98-106)



琴書大全內的 從[彈琴用指]以後, 包括[要訣取聲], [資暇集](左手指容) 等都不是陳拙[琴籍]的內容
楊元錚 "唐陳拙指法"的實際成分



Monday, December 10, 2018

Post on FB in 2018 Fall

兩個王一個門的琴還是第一次看到 (明1460年 "題韻直音篇")

神 Shén - 聖不可知 unknow holly spirit
暢 chàng - 和樂濟世 optimist, happy, and to bring righteousness to the whole world
操 cāo - 憂愁窮獨 alone, worry, self cultivation and to seek refinement of oneself
琴曲中有神人暢, 南風暢, 也有猗蘭操, 遁世操等, 暢與操分別為"兼善天下"與"獨善其身". 當自身能力足夠,財富足夠,身心愉悅時, 能幫助眾生, 則為暢; 當有志難伸, 生活困頓時則只能獨善其身了.




最近才發現我的食指指甲必須修圓, 不能修尖, 不能太長, 而中指與無名指指甲長度也不能太長,最好比食指指甲留的要再短一些, 如此彈出的琴聲與運指各方面才會比較自然, 順手. 食指指甲太長會倒勾, 不利彈琴. 食指長度比中指短很多, 所以中指指甲不能太長. 每個人的手型都不一樣, 可以找出最適合自己彈琴的指甲長度. (10/30/2018)


Marilyn comments : 同意。蘇思棣先生也一樣說。。。Mr. Sou also advised to trim the nails closer and not leave them too long because the best sound came from the movement of the entire finger/hand motion/impulse and 'flesh' of the finger and not from the nail in isolation...Hard to explain but interesting that you noticed this recently...You have ideally shaped fingers -- tapered without prominent knuckles (mine are rather craggy-looking). Each lesson (which I've not had for a year now...) Mr. Sou spends time to correct my finger/hand configuration to coax the best sound from the string, and to get my hand-shape to conform in harmony with the curved shape of the qin (top board), more rounded, less angular, and with no extraneous movements...I do miss hearing you all play...
-----------------------------------------------
12/7/2018
Morning Taichi becomes the most important moment of my day.
早上面對太陽打太極,已成為我一天中最重要的時刻.

12/8/2018
寂然松間雪降
裹厚衣舞雲手
氣沉丹田
足跨纏絲 
冷然天地間
與道長存.
Silently, in pine trees, snow falling,
I bundled up, practicing cloud hands,
Qi stay at Dantian,
Feet and hip twining.
Surviving with the Dao between exclusive heaven and earth.



12/9/2018
今晨依舊入後院練氣
雪地站樁
以意導氣
感指尖漸暖
遂進屋練琴
一首八段新曲
前四段感氣韻已漸漸掌握
如今進入第五段
估計數月後八段皆成
便可移譜
以心彈琴
This morning, entering back yard again practicing taichi.
At the end of the practicing was Zhangzhuang - standing like a post in snow
Qi guided by mind.
After a while, ten finger tips getting warmer.
Back into the house to practice qin,
A new piece which has 8 sections.
Now I am up to section 4 and feeling the rhythm handled smoothly
Going to the section 5
Seems that several months later I will be able to finish all 8 sections,
Then I can move away the notation,
Using my heart to play this whole new piece.


Saturday, November 17, 2018

2018 London International Guqin Conference Records

Saturday 25th August, 2018 I attended the London International Guqin Festival Conference at Khalili Lecture Theatre, SAOS

Here is my record of the conference. (still not done yet, will try adding more photos and notes)
--------------------
Session 1: Organology, Social and Cross-cultural Meaning
Chair: Luca Pisano

10:00  A Silk-Stringed Qin and Its Three Western Sinologists: Robert van Gulick 高羅佩, Laurence Picken 畢鏗(音坑) and Stephen Jones 忠思弟, presented by Cheng Yu (SOAS, University of London)

 

10:30 Yangzhou as a Thriving Center of Guqin Societies And Manufacturing - Jiang He (Masters student, Sichuan Conservatory of Music)




 11:00 Tea break and networking

11:30 The Qianlong 乾隆 Emperor's Guqin: Craftmanship, Nostalgia and Virtue - Edward Luper (Chinese art specialist at Bonhams auction house)



"of pearl-string (lianzhu) type, the tapering body modelled with a gently convex upper surface with cusped edges along the neck and waist, the underside with two peg guards on one end, supporting the musical instrument with seven celadon jade tuning pegs and two circular celadon jade goose feet, the front inlaid vertically with thirteen golden studs (hui), the ridge (yue mountain) and brow (drew receptacle) set with a pale celadon jade panel, the tail similarly framed with celadon jade, the reverse with four apertures, a rectangular peg pool near the head framing the tuning pegs, a shapely ruyi-shaped dragon pool and phoenix pond, interrupted by an oval sound hole and the pair of jade goose feet, one incised with cranes and ruyi motifs, the other with petal lappets and circular markings, each stringing three or four of the seven silk chords, the front of the instrument decorated with traces of cranes and clouds against the lacquered surface, the evenly lacquered exterior detailed overall with circular markings simulating ancient 'prunus crackles' (meihua duan) and accentuated with 'serpent belly crackles' (shefu duan), finely inscribed on the unlacquered wutong  interior with three main inscriptions visible through the apertures on the underside, an imperial poem eulogising the   qin  with a   yuzhi  mark in clerical script and a faint cinnabar seal mark seen through the dragon pool, the sound hole revealing a further inscription in clerical script dated to the autumn of the tenth year of the Qianlong period (1745), stating that the qin was made in Butong shuwu ['Replenished Wutong Library'] according to Qinding lulu Zhengyi    [Imperial musical encyclopedia]  followed by a cinnabar seal mark, possibly reading bide  (‘virtuous [as jade]’), all above the name of the   qin   in seal script reading Xiangjiang qiubi    (‘Clear Autumn Skies above the Xiang River’) visible through the phoenix pond, the tuning pegs attached with tassels
101 公分,39 3/4 英寸"





不解攫醳解琴意,七弦掛壁何不可?
暉十有三丁晨星,導和理性圖書左。
湘江夜月來水仙,牕暎飄蕭綠陰鎻。
何須鳴玉覓金儒,愛渠亦復周旋我。






- Founded in 1680 by Kangxi
- Responsible for making, repair and inventorying of all objects for the Imperial household
- Massive system of manufacturing logistical supply and record keeping served
  the whims and needs of the emperor alone
- Led by princes and bondservants, orders conveyed by Eunuchs 
- Emergence of "technocrat" class



考《清宮內務府造辦處檔案總匯》有關此四琴製做事項,始於乾隆十年末,先命莊親王、汪尤敦、張若靄等商酌,統理製琴事務。仿古樣製辦請旨:琴腹寫詩,遴選良工,呈覽琴胎,何處取玉製岳山、琴軫等配件,後交蘇州織造圖拉,1 依畫樣花紋顏色等做漆。此等均一一記載,鉅細無遺,前後共計費時約十個月,四琴方成

圖拉,乾隆五至十六年間(1740-51年)管理蘇州織造,乾隆十七年(1752年)卒。在他任職期間,所有蘇作織繡品、玉作、漆作等均由他交回造辦處。當時織造、鹽政及監督均由宮廷委派,他們多為皇帝身邊之人,甚知皇帝的品味。 

[乾隆十年] 十二月初二日。鍍金作。郎中色勒來說為乾隆十年十一月十五日汪尤敦、張若靄奉旨所製四琴著莊親王遴選良工會同造辦處悉心斟酌,其金徽、玉軫等件俱仿古樣製辦,琴腹中寫詩之處著汪尤敦、張若靄商酌辦理,統於製,就細胎時呈樣請旨。欽此。…… 

十二月初二日:私庫白世秀七品首領薩木哈,將現做琴四張持進交太監呈覽。奉旨,琴上龍池不必開,將御題刻在龍池的迎手上,琴名刻在鳳池的迎手上,其字或寫、或刻,著汪尤敦、張若靄酌量帖樣呈覽。准時罩金漆,再需作古,上等做法,爾等仔細、好生莊重成造。欽此。

於本月二十二日太監胡世傑傳旨,要現做活記呈覽。欽此。 於本日私庫白世秀將做得四琴持進交太監胡世傑呈覽。奉旨,此琴上應嵌之玉岳山、龍尾、枕足等處,將交莊親王舊琴內有嵌玉的,將玉拆來嵌用。如無,有再庫內查玉成做。庫內再無玉,著買玉做。欽此。 

於本月二十三日七品首領薩木哈將莊親王送來白玉枕足十副持進交太監胡世傑呈覽。奉旨,將此玉枕足內選四副用,其餘六副造辦處收貯。再此琴上應用龍吟、蛟尾、成路、岳山之處做樣交南邊照樣做白玉的送來。欽此

於十一年正月初八日七品首領薩木哈來說:奉莊親王諭,現做四琴上岳山、成路(承露)、蛟尾(焦尾)、龍音(齦)、下龍音(齦)、托尾、下托尾俱係用玉成做,若用木做樣交南邊恐其性軟,抽小彼處照木樣成做。未免於琴上不合尺寸,著用或凍石、或滑石做樣,送去其石性縱軟,再不至抽小。彼處照樣做來方能合式。記此。

乾隆十一年二月初一日。蘇州。七品首領薩木哈來說太監胡世傑傳旨:現做琴四張著交南邊漆做。欽此。於本月初六日七品首領薩木哈來說太監胡世傑交按古琴斷紋顏色仿畫琴樣四張,傳旨:著交南邊照此畫樣花紋、顏色一樣漆做。欽此。

於本年九月初五日將蘇州織造圖拉做得送到漆琴四張隨匣、錦套持進交太監胡世傑呈進訖。
於十一年十月二十日司庫白世秀將圖拉做得漆琴四張持進交太監胡世傑呈進訖。


《明报》引述香港苏富比中国艺术品资深专家李佳表示,乾隆时期的宫廷工艺制作技术,是中国工艺美术的巅峰时期,因乾隆不但非常热爱工艺美术作品,也是一个非常念旧的人,于其诗集作品中,记有他年少时在中南海中的一组建筑,其中一个小院落内的「补桐书屋」,这是乾隆当时读书的地方;屋前原有两株老桐树,其中一株因病枯死,其后补种一株,也是此屋名「补桐」的由来。书屋门前所有梧桐老树,于乾隆九年(1744年)全告枯死,当时乾隆已封帝,便下令「内务府」造办处以此梧桐树木材制成四张古琴,各赐其名并题诗。四张古琴于乾隆十一年秋季制成后,一直存放在补桐书屋内,不曾弹奏。
李佳指出,古琴于大拍卖会中出现,多年来寥寥可数,清代制的古琴更少之又少;从乾隆琴中的题诗及几首其他有关补桐的诗词,她估计或也包含忆祖父康熙的情感,让此琴有非比寻常的意义和价值。再者,有御题之琴,在清代文献记载中约有十来张,且多为唐宋制成古琴,大部分属博物馆珍藏,但乾隆亲令御制之琴便仅有此四张,几经世代交替,辗转流传约270年,能重现人间,只有这张「湘江秋碧」琴,其珍贵程度可想而知。
补桐书屋为北京中南海中的一组建筑,是太湖石上的一个小院落,院内南屋名补桐书屋,北屋名随安室。雍正年间,身为太子的乾隆就在这里读书。(https://www.chinatimes.com/cn/realtimenews/20161006005342-260409)
傳世之乾隆御器,無不為精心妙作,屢見巧創奇想,然儘管珍器滿堂,唯甚少可與此琴媲美。乾隆生性慕古好雅,如斯珍愛此梧桐漆木琴,題詩銘刻,其心性與嚮往可見一斑。
二十世紀日本古董巨商山中定次郎,曾從滿清親王貴族手上購得海量重器珍品,本琴為其中之一;二戰時美國政府將其財產充公拍賣,在最後、即第三場拍賣會上,年輕西藏先鋒探險家 F. Bailey Vanderhoef Jr. 相中此琴,儘管當時署年與資料皆語焉不詳,他喜以為宋代古琴,並在1976年借展於聖塔芭芭拉藝術博物館一場漆器展,時展覽圖錄誤以為琴上紀年乃補修記錄。
近年研究揭示,本琴實為一組四張乾隆十一年(1746年)完成的御製古琴之一;原木取自一株古梧桐樹,乾隆仍為皇子時,於梧桐所在的庭院讀書受教,甚愛此樹。關於本琴,清宮檔案記載甚繁,詳述當中選材、選匠、樣式與製作工序,讀者如歷在目。乾隆為四張琴各製一首御題詩,鐫刻其上;此後連續十月,宮人源源向乾隆禀報此琴的製作進度,直至完成後呈送至補桐書屋方止。凡此皆可見乾隆對本琴的珍視。
http://www.sothebys.com/zh/auctions/ecatalogue/lot.3605.html/2016/important-chinese-art-hk0675

12:00 Robert van Gulik and the Qin Today - Marie-Anne Souloumiac-van Gulic (creative entrepreneur and founder of DEE Projects 狄公)



You can watch the full film of Robert van Gulik's story at:
https://vimeo.com/150994641
password:vangulik2016

13:00 Lunch
--------------------
Session 2: Aesthetics and Iconography
Chair: Edward Luper

14:00 Preliminary Remarks on Qin Iconography from Chen Yang's 陳暘 Treatise on Music Iconography (Yuetulun 樂圖論) - Luca Pisano (Associate Professor of Chinese Language and Literature, Kore University of Enna, Italy)

14:30 A Philosopher's Qin Sound - Peiyou Chang (New York Qin Society)

15:00 Tea break and networking

15:30 The "View of Nature" in the Musical Aesthetics of the Guqin in Terms of Comparing the 24 Epithets of Guqin Music (二十四琴況, [谿山琴況] ) and 24 Epithets of Poems ([二十四詩品]) - Mei-Yen Lee (Professor, Department of Chinese Language and Literature, National Pingtung University, Taiwan)

16:00 Living Off the Landscape - the Spatial Aesthetics of the Guqin in Literature - Yuhan Wang (Masters student, National Taiwan University)

16:30 Representations of the Guqin in China Today: From Recurrent Nostalgia, Cultural Etiquette to Revival MovementsOmid Christoph Burgin (Lecturer and Researcher at the UNESCO Chair on Transcultural Music Studies, Department of Musicology, University of Music FRANZ LISZT Weimar & Friedrich Schiller University, Jena)

He mentioned this book:
https://www.amazon.com/Music-China-Today-Bernhard-Hanneken/dp/386135652X

17:00 Finish (followed by Evening Concert at 19:00)

--------------------
Sunday 26th August

Session 3: Notation and Education
Chair : Omid Christoph Burgin

9:00 Some Remarks about the Past, Present and Future of a Special Notation System for the Guqin - Dorothee Schaab-Hanke (Department of History, University of Bamberg)

9:30 Developing Standards of the Guqin: Towards a Critcal Approach Pedagogy of the Guqin, Musicology, and its Culture - Juni Yeung (Toronto Guqin Society)

10:00 Short tea break and networking

10:15 Qin Rhythms with analysis of stroke patterns and first lyric setting for Guangling San in over a thousand years - Marnix Wells (Independent Researcher; LYQS)

10:45 From Habitual Imitation to Systematic Training- An Idea for the Construction of a Guqin Teaching System - Zeng He (Lecturer in Chinese music and guqin performance, Sichuan Conservatory of Music)

11:15 Short tea break and networking

12:00 Round table discussion: The future of the Guqin
Chair : Hwee San Tan and Cheng Yu
All presenters, and guqin masters Li Xiangting, Zeng Chengwei and Zeng He.

13:00 Lunch (followed by Grand Yaji at 14:00 and Evening Concert at 19:30)