Monday, July 18, 2016
Monday, July 4, 2016
台北故宮[東周時期秦、周與戎的藝術特色]
羽紋的組合
看完台北故宮蔡慶良助理研究員主講的「東周時期秦、周與戎的藝術特色」直播影片
作了以下紀錄:
西周-->東周(春秋,戰國,秦). 秦在西周時在甘肅落腳. 到春秋時已擴展到今天的關中平原(陝西), 到戰國時擴展到陝北及巴蜀. 西元前310年左右秦已成超級強國, 251BCE 秦始皇繼位前四年.四年後兼併東方六國. 秦到底從哪來? 可能是從山西(出土文物)或山東(文獻), 總之是東方到西方的甘肅來.秦開始發跡在甘肅. 春秋一開始, 周王朝封地給秦(襄公)並期望秦能趕走犬戎, 自此秦開始以中原人自居,向東發展兼併六國. 秦的政治地位是周王朝給予的. 秦公鼎- 秦正式成為大諸侯國. 秦的禮樂重器銅鐘石磬全是周的樣子周文化的傳統, 銘文是寫給祖先及後代看的.
羽紋是解開商周藝術的鑰匙.(陰陽紋), 其藝術目的是讓你不敢逼視. 同一單元設計的重複組合. 西周人的設計-> 具有"Pi- π " 的設計. 羽紋是周文化的傳統. 在規範化中有巧思是最偉大的設計. 斜對角圓弧分割構圖設計. 但銘文是秦人的銘文. 拿老的東西改為新的設計. "神人"(鼻子向下)"神龍"(鼻子向上).
春秋中晚期周文化的影響漸趨式微, 戎文化開始加深, 春秋的秦都在雍城. 雍城定都300多年, 戰國時定都咸陽100 多年. 秦始皇的成年禮是在雍城舉行的. 雍城對秦來說是祖地... 造型用周, 裝飾用自己... 銅器從禮器轉變為賞玩用器... 子車是秦穆公的大臣(詩經, 秦風, 黃鳥)... 方直的線條是秦人的風格. 鏤空不是周人的傳統, 是秦經過文化交流後的設計.
詩經, 秦風, 黃鳥
http://e-info.org.tw/node/42018
交交黃鳥，止于棘。誰從穆公？子車奄息。
維此奄息，百夫之特。臨其穴，惴惴其慄。
彼蒼者天！殲我良人。如可贖兮，人百其身。
維此奄息，百夫之特。臨其穴，惴惴其慄。
彼蒼者天！殲我良人。如可贖兮，人百其身。
交交黃鳥，止于桑。誰從穆公？子車仲行。
維此仲行，百夫之防。臨其穴，惴惴其慄。
彼蒼者天！殲我良人。如可贖兮，人百其身。
維此仲行，百夫之防。臨其穴，惴惴其慄。
彼蒼者天！殲我良人。如可贖兮，人百其身。
交交黃鳥，止于楚。誰從穆公？子車鍼虎。
維此鍼虎，百夫之禦。臨其穴，惴惴其慄。
彼蒼者天！殲我良人。如可贖兮，人百其身。
維此鍼虎，百夫之禦。臨其穴，惴惴其慄。
彼蒼者天！殲我良人。如可贖兮，人百其身。
黃鳥
黃鳥唧唧叫，密集棗樹上，
誰陪穆公殉葬，子車奄息啊。
這位奄息，百夫莫敵，
走近墓穴，渾身戰慄。
蒼天啊蒼天，為甚麼活埋好人，
如果可以贖身，寧可百人換一人。
誰陪穆公殉葬，子車奄息啊。
這位奄息，百夫莫敵，
走近墓穴，渾身戰慄。
蒼天啊蒼天，為甚麼活埋好人，
如果可以贖身，寧可百人換一人。
黃鳥唧唧叫，密集桑樹上，
誰陪穆公殉葬，子車仲行啊。
這位仲行，德高望重，
走近墓穴，渾身哆嗦。
蒼天啊蒼天，為甚麼活埋好人，
如果可以贖身，寧可百人換一人。
誰陪穆公殉葬，子車仲行啊。
這位仲行，德高望重，
走近墓穴，渾身哆嗦。
蒼天啊蒼天，為甚麼活埋好人，
如果可以贖身，寧可百人換一人。
黃鳥唧唧叫，密集楛籐上，
誰陪穆公殉葬，子車鍼虎啊。
這位鍼虎，強壯英武，
走近墓穴，渾身哆嗦。
蒼天啊蒼天，為甚麼活埋好人，
如果可以贖身，寧可百人換一人。
誰陪穆公殉葬，子車鍼虎啊。
這位鍼虎，強壯英武，
走近墓穴，渾身哆嗦。
蒼天啊蒼天，為甚麼活埋好人，
如果可以贖身，寧可百人換一人。
"在規範化中有巧思是最偉大的設計" --> 古琴曲中的"楚歌" 頗有在規範中做變化的巧思.
Sunday, May 22, 2016
近代中國出土有關琴的文物 About Lyre Unearthed
大陸湖北文物考古研究所公布，棗陽郭家廟曾國墓地近日出土一張春秋早期的琴. 棗陽郭家廟曾國墓是2014年11月到2015年1 月進行挖掘.
馬王堆漢墓琴及長沙五里牌十弦琴: 這篇王子初先生的撰文 提到"半箱式"與"全箱式," 無徽, 尾部實心並上翹, 與現在的琴實屬兩個系統的產物.而半箱式琴應是流行於楚文化範圍的"楚式琴." 王子初先生說楚式琴流行的同時,可能還有更接近今日合體全箱式琴的存在. 全箱式的琴很可能是在偏北邊地區(中原)的琴式, 但因地理關係,濕濕乾乾的環境無法保存下來, 而無法在出土文物中發現. 全箱式帶徽的琴是到南北朝時的竹林七賢畫像磚上確定那時已存在. 徽大約出現在公元前二世紀上半.
湖南省博物館撰文中有湖北九連墩２號墓出土的戰國浮雕十弦琴. Hubei Province, Jiu Liandun No. 2 tomb unearthed a Warring States ten-stringed lyre with relief (sculpture) surface.
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圖／取自湖北日報 棗陽郭家廟曾國墓春秋早期的琴 During late 2014 to beginning of 2015, Zaoyang Guojia Miao unearthed a qin dated back to the early of Spring and Autumn period. |
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10 stringed qin from the tomb of Zénghóu Yǐ 曾侯乙, in Léigǔ dūn, Suízhou city 擂鼓墩 隋州市, Hubei Province, dated sometime after 433 BC 十弦琴.
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In 1993, a seven string Qin unearthed from Hubei Province 荊門 Jīngmén 郭家店 Guō jiā diàn, a tomb of mid of Warring states period (from 4th to 3rd century BC) 公元前4世纪中期至3世纪初，戰國中期, 七弦琴.
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海昏侯劉賀（前93/92年—前59年）墓於2011年三月出土的琴. In 2011 March there unearthed a qin from the tomb of Liu He, Marquis of Haihun at Nanchang city, Jiangxi Province.
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馬王堆漢墓琴及長沙五里牌十弦琴: 這篇王子初先生的撰文 提到"半箱式"與"全箱式," 無徽, 尾部實心並上翹, 與現在的琴實屬兩個系統的產物.而半箱式琴應是流行於楚文化範圍的"楚式琴." 王子初先生說楚式琴流行的同時,可能還有更接近今日合體全箱式琴的存在. 全箱式的琴很可能是在偏北邊地區(中原)的琴式, 但因地理關係,濕濕乾乾的環境無法保存下來, 而無法在出土文物中發現. 全箱式帶徽的琴是到南北朝時的竹林七賢畫像磚上確定那時已存在. 徽大約出現在公元前二世紀上半.
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| 1973年湖南長沙馬王堆3號墓出土七弦琴，現藏湖南省博物館. In 1973, Hunan province Mawangdui unearthed a 7 string qin from the western Han dynasty. |
湖南省博物館撰文中有湖北九連墩２號墓出土的戰國浮雕十弦琴. Hubei Province, Jiu Liandun No. 2 tomb unearthed a Warring States ten-stringed lyre with relief (sculpture) surface.
 |
| 戰國浮雕十弦琴 A 10 string qin from Warring states period.
以上都屬"半箱式" 無徽琴
From here above, all the qin unearthed are Half (Sound) Box Style and no hui (dots) which is different from the qin we are playing now that is Whole (Sound) Box Style, according to Mr. Wang Zichu who is a Chinese musical archaeologist. He believes that the Half Box Style Qin and the Whole Box Style Qin are two different system.
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| 四川省博物館漢代撫琴俑之琴已成全箱式 |
Whole Box Style Qin can dated back to Han dynasty the earliest, based on some of the unearthed tomb qin playing figures.
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
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、金錯刀(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。
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
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、金錯刀(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].
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
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.
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