十二律名由來 Names of the 12 Lu

十二律名由來

黃鐘C(HuángZhōng )Yellow Bell: 漢 班固 《白虎通·五行》:《月令》云,十一月律謂之黃鐘何？中和之色；鐘者，動也。言陽氣動於黃泉之下，動養萬物也。"Huang" came from "Huang Quan" which means the spring water under the yellow ground. "Zhong" means moving, active. Huang Zhong: the Yang energy moving under ground, which relates to the season of the 11th month in Chinese calendar.

大呂C#(Dà Lǚ)Great Regulator: 《白虎通·五行》:十二月律之謂之大呂何？大，大也；呂者，拒也。言陽氣欲出，陰不許也。呂之為言拒者，旅抑拒難之也。"Da" means big. "Lu" means resistance. "Da Lu" means a heavy resistance of the ying energy because the yang energy is coming out. This is related to the 12th month in Chinese calendar.

太簇D(Tài Cù)Great Budding: 取萬物簇生之意。乃六陽律之第二律。《白虎通·五行》:正月律謂之太蔟?太,亦大也;蔟者,湊也。言萬物始大,湊地而出也。"Tai" also means big. "Cu" means together. "Tai Cu" means all the life starting to grow together. This is related to the 1st month in Chinese calendar.

夾鐘D#(Jiá Zhōng)Husk Bell: 《白虎通·五行》: 二月律謂之夾鐘何？夾者，孚甲也，言萬物孚甲，種類分也。孚甲指草木種子分裂發芽。引申為萌發，萌生。孚，通“ 莩 ”，葉里白皮。甲，草木初生時所帶種子的皮殼。"Jia" means the husk of a seed when plants starting to grow. "Zhong" means moving, active, or bell. This is related to the 2nd month in Chinese calendar.

姑洗E(Gū Xiǎn)Purify Old: 六陽律之第三律。《白虎通·五行》：「三月謂之姑洗何？姑者故也，洗者鮮也，言萬物皆去故就其新，莫不鮮明也。」 "Gu" means old. "Xian" means fresh. "Gu Xian" means everything get rid of old and become new. This is related to the 3rd month in Chinese calendar.

仲呂F(Zhòng Lǚ)Mean Regulator:《白虎通·五行》 四月謂之仲呂何？言陽氣極將，彼故復中難之也。 高誘 注：“仲呂，四月也。陽在外，陰在中，所以呂中於陽助成功也，故曰仲呂。"Zhong" means middle or inside. "Zhong Lu" means yang is at outside and ying is at inside. This is related to the 4th month in Chinese calendar. "Zhong Lu" can also means the middle bell. If "Da Lu" is the big resistance of the Ying energy, Zhong Lu should be the smaller resistance of the Ying energy, which means the Yang energy is coming out more.

蕤賓F#(Ruí Bīn)Respect Below: 律以統氣類物……四曰蕤賓……位於午，在五月。為六陽律的第四律。蕤:草木的花下垂的样子。《白虎通·五行》五月謂之蕤賓，蕤者，下也；賓者，敬也。言陽氣上極，陰氣始，賓敬之也。"Rui" means flowers drooping. "Bin" means respects. "Rui Bin" means the yang energy is at the peak and the ying energy starts to grow,  respecting the ying energy. This is related to the 5th month in Chinese calendar.

林鐘G (Lín Zhōng)Forest Bell: 《白虎通·五行》六月謂之林鍾何？林者，眾也，萬物成熟，種類眾多。"Lin" means numerous, many kinds, all kinds of thing become mature. "Zhong" means moving, active, or the bell. "Lin Zhong" is related to the 6th month in Chinese calendar.

夷則G# (Yí Zé)Equalizing Rule:《白虎通·五行》七月謂之夷則何？夷，傷也；則，法也。言萬物始傷，被刑法也。"Yi" means becoming harmful. "Ze" means rules, laws. "Yi Ze" means everything starting to be hinder by natural phenomena. This is related to the 7 month in Chinese calendar.

南呂A (Nán Lǚ)Southern Regulator: 八月謂之南呂何？南者，任也，言陽氣尚有，任生薺麥也，故陰拒之也。"Nan" means rely on or let alone. In the 8th month of Chinese calendar, yang energy is getting less and less, therefore farmers growing water-chestnuts; caltrop and wheat these kind of crop. "Nan Lu" is related to the 8th month in Chinese calendar. "Nan Lu" also has the meaning of that the Ying energy resist the Yang energy. There is more Ying than Yang.

無射A# (Wú Yì)Tireless: 九月謂之無射何？射者，終也。言萬物隨陽而終，當複隨陰而起，無有終已也。"Wu" means without. "Yi" means ending. "Wu Yi" means everything goes to its end when yang energy is finished but will start growing with the yin energy. Therefore life is no ending. This is related to the 9th month in Chinese calendar.

應鐘B (Yìng Zhōng)Resonating Bell: 十月謂之應鐘何？應者，應也；鐘者，動也。言萬物應陽而動下藏也。"Ying" means comply with, responding. In the 10th month of a year in Chinese calendar, everything will start to comply with the hidden yang energy.

最早記載五度相生律方法的是《管子》。最早紀載十二律的是[呂氏春秋].

管仲（前725年－前645年）
吕不韋（?－前235年）

[管子]地員篇註解 (清)王紹蘭撰

呼音中宮
三施之地 深淺當五施之中 (施或有carry out 之意, 挖出)
試呼之其音 中宮下云 如牛鳴窖中也 月令中央土 其音宮 鄭注 屬土者 以其最濁... 呂氏春秋 季夏紀注 宮土也 位在中央 為之音主 時則訓注作五音之主是也...黃泉而臭... 其水黑而苦... 黃泉在地中... 淮南子天文訓高注云 黃鐘 鐘者聚也 陽氣聚於黃泉之下也 說文寅正月 陽氣動 去黃泉欲上出臭...臭謂氣也... 水泉必香也
宮謂之重 ... 宮者中也 君也 為四音之綱 其聲重厚... 其音含容厚重

呼音中羽
再施之地 較三又淺 試呼之其音 ... 如鳴馬在野也 月令孟冬之月 其音羽 鄭注屬水者 其音最清... 說文作霜水音也
羽者宇也物也 其聲低平掩映 自下而高 五音備成 ...羽者紓也 陰氣在上 陽氣在下 然則蕭蕭... 馬鳴曠野蕭蕭然 聲正低平掩映 自下而高有復柳然 聚而紓徐 氣肅上下...

呼音中徵
水黑而苦... 孟夏之月 其味苦 氣臭焦
凡聽徵如負豬 豕覺而駭... 聽一施之地 呼音中徵... 竊豬者 負而走 豬覺而駭 ... 其聲抑揚遞續 其音如事之緒而為迭... 徵者止也 陽氣止然 則豬豕方寢 負之而走 其覺而驚駭之聲

凡聽商如離群羊... 四施之地其音中商也... 商謂之敏... 其聲敏疾... 商者張也 陰氣開張 陽氣始降也 

凡聽角如雉登木 以鳴音疾以清...其聲迅疾園長... 角者躍也 陽氣動躍... 又如聞雷動躍

黃鐘者 陽氣踵(接著)黃泉而出也...鐘者種也 天之中數 五五為聲 聲上宮 五聲莫大焉 地之中數 六六為律 律有形有色...



管子五行 篇

昔黃帝以其緩急，作五聲，以政五鍾。令其五鍾，一曰青鍾，大音，二曰赤鍾，重心，三曰黃鍾，灑光，四曰景鍾，昧其明，五曰黑鍾，隱其常。五聲既調，然後作立五行，以正天時。五官以正人位，人與天調，然後天地之美生。

管子地員 篇中出現這一段確實有點奇怪


凡聽徵如負豬豕，覺而駭。凡聽羽如鳴馬在野，凡聽宮如牛鳴窌中，凡聽商如離群羊，凡聽角如雉登木以鳴，音疾以清。凡將起五音，凡首，先主一而三之。四開以合九九，以是生黃鐘小素之首以成宮，三分而益之以一，為百有八，為徵，不無有三分而去其乘，適足，以是生商，有三分而復於其所，以是成羽，有三分去其乘，適足，以是成角。

[吕氏春秋]季夏紀 音律: 黃鐘生林鐘，林鐘生太蔟，太蔟生南呂，南呂生姑洗，姑洗生應鐘，應鐘生蕤賓，蕤賓生大呂，大呂生夷則，夷則生夾鐘，夾鐘生無射，無射生仲呂。三分所生，益之一分以上生；三分所生，去其一分以下生。黃鐘、大呂、太蔟、夾鐘、姑洗、仲呂、蕤賓為上，林鐘、夷則、南呂、無射、應鐘為下。


[管子]地員篇註解
黃鐘下生林鐘，林鐘上生太蔟... 無射下生仲呂. 每辰各自為宮 各有五聲十二管
以上生下 皆三生二 以下生上 皆三生四 陽下生陰 陰上生陽

六律六呂

黃鐘、太簇、姑洗、蕤賓、夷則、無射為六陽律(六律) Six Yang Lu

大呂、夾鍾、仲呂、林鍾、南呂、應鐘為六陰律(六呂) Six Yin Lu

The Chinese Instrument Guqin - Journey To The East

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。

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。

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。

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。

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。

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。

"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. 

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. 

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.  

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.

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.

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.

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.

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.  

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.

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].

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.

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

https://www.agakhanmuseum.org/exhibition/lost-dhow-discovery-maritime-silk-route

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.