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Taiyin Daquanji  ToC   Folio 3   Folio 4A   Folio 4B   Folio 5 ToC 網站目錄
Taiyin Daquanji 1
Folio 4, Miscellaneous Essays: Annotated List of Contents
Explanations provided by the translator are put either in brackets ( ) or in footnotes.2
太音大全集
卷四,目錄

Folio 4 originally had no Table of Contents; one is added here for convenience. Page 1 of Folio 4 in Taigu Yiyin; compare Taiyin Daquanji 3 

  1. 群書要語 Important words from miscellaneous books (QQJC I/80)
    Quotations from 8 sources

  2. 彈琴賦 Rhapsody on Playing the Qin (QQJC I/81)
    Excerpts from the
    Qin Fu by Xi Kang

  3. 彈琴法 Qin Playing Methods (QQJC I/81)
    A long section with seven entries

    1. Qi Song (compare QSCM)
      齊嵩云:「嵇三琴賦曰:摟批。擽捋,縹繚潎洌,調手勢也。皆取其名。琴宜....」
    2. Zhao Weize (compare QSCM, 趙維則)
      趙惟則曰:「趙師云,凡彈琴之法必資簡靜豈....」.
    3. Caishi Wunong (Continuation of above? Compare the melodies)
      蔡氏五弄:並是側聲....」.
    4. Xue Yijian (in Qin Jue?)
      薛易簡曰:「鼓琴之時無問有人無人,常如對長者在前,身需端直,且神鮮意閑,視專思靜....」.
    5. Zhao Xikuang (QSCB, p. 120; also in QSDQ, Folio 10)
      趙希曠云:「夫彈琴前指不付後指踢絃....」。
    6. Qin Lu (Continuation of the above?)
      琴錄云:「琴有三調,足有五調. 清平(瑟)楚側都十弄,皆清調為之本....」.
    7. Qu Zhan
      麴瞻云「凡彈琴散聲虛歌如風水之澹....」. (Partial translation in QSCB Folio 4; see also QSCM)

  4. 儀式 Ceremonies: 禮少儀 Li Shao Yi (QQJC I/82)
    - Li Shao Yi is not Shao Yi from Li Ji; see
    further comment

    琴瑟埶之皆在左手埶。琴之謂抱又謂推。手將鼓謂之援,謂之引。對琴而坐當以六徽為正....

  5. 琴制尚象論 Discussion of Honored Appearance of Qin Construction (QQJC I/83)

    Begins "制氣尚象其來久矣。琴之為器其制詳其義...."

  6. 琴議篇 Qin Yi Pian: A Chapter of Qin Critiques (QQJC I/83)

    Begins "琴者禁也。禁邪歸正以和人心。始於伏羲...."

  7. 三聲論 Discussion of Three Sounds (QQJC I/84)

    Begins "琴有散聲、泛聲、木聲三者.... The qin has three types of sound, open, harmonics and "wood" (usually 按 "stopped")

  8. 琴本制起法象 Appearance of How the Basic Nature of the Qin Began (QQJC I/84)

    Begins "昔者伏羲氏之王天下也...."

  9. 絲附木論 Discussion of Silk Attached to Wood (QQJC I/85)
    From 雲山集 Yunshan Ji Record of a Cloud-Filled Mountain (43170.xxx but web mentions one by 元初全真派道士姬志真 Ji Zhizhen 6368.xxx [?])

    Begins "八音皆有聲,聖人用之以作樂。獨絲不能自為而聲出於木蓋蠶與馬同氣...."

  10. 琴材論 Discussion of Qin Materials (QQJC I/85)

    Begins "樂由陽來虛所生也,故莊子曰,樂出虛,夫虛則通實...."

  11. 琴體說 Speaking of the Qin Structure (QQJC I/85)

    Begins "琴之首曰鳳額....The head of the qin is called the phoenix forehead...."

  12. 論絃象七星 Discussing How the Strings Resemble the Seven Stars (QQJC I/86)
    See
    further; from Fengsu Tong

    One line for each string, beginning "一絃屬土,主宮,為天,為君,其色黃...."

  13. 取聲用指兼述琴人善惡 Using Fingers to Attain Sound and Narrating Qin Players Good and Bad Points (QQJC I/86)

    Begins "凡彈琴調弄句度...."; ends "....絕此十二則妙矣 it would be good to avoid these 12 faults"
    Seems to be a list, but not clear

  14. 五音審辨乃可議琴 Enquiring how the Five Sounds Can View the Qin (QQJC I/86)

    A list of five, the first being, "凡宮聲和平深厚粗大其音雄洪含通然...."

  15. 彈琴有七要 Seven Requirements for Playing Qin (QQJC I/86)

    The seven are:

    1. 一曰:學琴者欲得風韻瀟洒,無塵俗氣,而與雅樂稱。
    2. 二曰:蓄琴欲其九德具備,無收庸材。(音釋:九德者:奇、古、透、潤、靜、勻、圓、清、芬是也。)
    3. 三曰:下指沉靜,而不得暴燥。
    4. 四曰:曲調雅正,不挾淫哇。(音釋:哇音蛙。)
    5. 五曰:不為俗奏,以玷古人之高風。
    6. 六曰:聲無映奪,欲得純正。
    7. 七曰:聽欲靜慮,不逐聲色。

    The list is followed by an essay that begins, "琴太古樂也。正聲之所自出...." It is not clear whether it belongs together with the list it follows, or in fact what if any connection it has with the preceding several sections.

  16. 琴有九德 Qin has Nine Virtues (QQJC I/87)

    The nine are:

    1. 一曰「奇」,謂輕鬆脆滑者乃可稱奇。蓋輕者,其材輕;鬆者,扣而其聲透,久年之材也. 脆者,質緊而木聲清長,裂文斷斷,老桐之材也; 滑者,質澤聲潤,近水之材也。
    2. 二曰「古」,謂淳淡中有金石韻,蓋緣桐之所產得地而然也。有淳淡聲而無金石韻,則近乎濁;有金石韻而無淳淡聲,則止乎清。二者備,乃謂之「古」。
    3. 三曰「透」,謂歲月綿遠,膠膝乾匱,發越響亮而不哽塞。
    4. 四曰「靜」,謂之無殺颯以亂正聲。
    5. 五曰「潤」,謂發聲不躁,韻長不絕,清遠可愛。
    6. 六曰「圓」,謂聲韻渾然而不破散。
    7. 七曰「清」,謂發聲猶風中(之)鐸。
    8. 八曰「勻」,謂七弦俱清圓,而無三實四虛之病。
    9. 九曰「芳」,謂愈談而聲愈出,而無彈久聲乏之病。

    A somewhat revised version of these nine, as included in Gao Lian's Eight Discourses on Living, is translated by Pei-You Chang on her website.

  17. 琴有四虛 Qin (body can) have Four Weaknesses (QQJC I/87)
    Brief list:

    1. 一曰兌虛,謂槽腹太寬也
    2. 二曰散虛,謂膠縫脫落也
    3. 三曰濁虛,謂材太慢也
    4. 四曰精虛,謂材太薄也

  18. 琴有所且 Qin has those who are dignified (QQJC I/87)
    Begins with a list of five types of gentlemen, followed by a brief characterization of each:

    黃門士、隱士、孺士、羽士、德士。此五者,雅稱聖人之樂,故宜於琴。黄門士,鼓大雅聖徳之頌。隱士操流水高山之調。儒士撫清和治世之音。羽士操御風飛仙之曲。徳士彈枯淡清虚之吟。

    This is followed by a long yinshi, then five more lines each with a rule, plus a closing statement:

    • 騷人逐客,遊子怨女,皆寄情於琴,以伸快其意。古人皆尚之。
    • 凡學琴必須要有文章。能吟詠者。
    • 貌必要清。要古怪。不麄俗者。
    • 心必要有仁慈徳義能甘貧守志者。
    • 言必要有誠信。無浮華薄飾者。

    凡鼓琴必擇明堂室。竹間松下。他處則未宜。

  19. 琴有所忌 Qin has things to shun (QQJC I/87)
    Four characterizations of people who shouldn't play qin:

    1. 鼓琴有三俗:心中無德;口上無髯;腹內無墨。
      As for playing qin there are three kinds who do so in a common manner: those who in their hearts have no virtue, those who on their face have no moustache (i.e., females and young males), and those who in their bellies have no ink (i.e., they have no taste for literary pursuits).
    2. 武士之家不宜鼓琴。武士乃甲冑之門。聖人以兵爲凶器。故與琴不宜也常言。將士之家無琴聲。畫戟門開金鼓鳴。正謂此也。
      People from military families....
    3. 商賣不可鼓琴。琴本聖人修身養性。甘貧知止。戒盈之樂。商賣乃利欲慳貪。市井之人反是聖人之道。故不宜於琴。
      People in commerce....
    4. 優伶不敢鼓琴。(音釋:優伶,樂工賤役之人。)且古之有伶官。琴者非倡優妓夫也。即漢唐典神樂之官。郊祀天地之樂也。後代倡優竊其名爲伶人。誠可笑也。凡鼓琴切忌對倡優鼓者。恐爲褻玷聖人之音也。又何况使其抱聖人之琴耶。 非中土有郷談番語者。以其自音之不正。安能合聖人之正音。故不宜也。琴本中國賢人君子養性修身之樂。非蠻貊之邦而有也。故喪門不宜於琴。 (音釋:喪門即桑門,又曰沙門,即今之和尚。)百工伎藝之人。皆謂之俗夫。以俗夫之材而鼓聖人之琴。是玷辱聖人之器故忌之。 有腋氣口氣者不宜鼓琴。是褻慢聖人之器故忌之。
      Professional performers....monks....

    (Chinese text in this section copied from Muka Fushimi Facebook page.)

  20. 琴經須知 Qin Standards that must be known (QQJC I/88)

    Begins "下指不欲粗慕則聲不真全...."

  21. 琴不妄傳 Qin should not be improperly transmitted (QQJC I/88)

    Begins "洞虛皇甫先生世以琴道鳴。弟子甚眾而喪門雜然...."

End of Taiyin Daquanji, Folio 4

 
Footnotes (Shorthand references are explained on a
separate page)

1 See the Comment on the different editions: the original of this chapter is in the Taiyin Daquanji reprinted in QQJC Vol. I, pp. 80 - 88 (70-78 in earlier edition). It is nearly identical to the same passage as reprinted in QFTGYY, pp. 74 - 84, with the latter adding punctuation. It should be noted that the meaning of a number of passages still eludes me.
(Return)

2. Explanations by translator
See comments concerning the structure of the original text.
(Return)

3 Page 1 of Folio 4 in Taigu Yiyin
The text here seems to be much the same as that in Taiyin Daquanji, and is much easier to read.
(Return)

 
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