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QSCB : Song/Yuan    previous     /     next     首頁
Chapter Six: Song and Yuan dynasties 1
Xu Jian, Introductory History of the Qin, p. 114

3. Qin Essays 2

第六章﹕宋,元
許健,琴史初編,第114頁

琴論  

Much practical experience was obtained from the creation and performance of qin melodies in the Song dynasty. Based on this foundation, qin theory also underwent much development during the Song and Yuan dynasties, as follows,3

  1. Zhu Changwen's Qin Shi for the study of history, and
  2. Yuan Jue's Qin Shu (for same);
  3. Cui Zundu's Qin Jian for the study of aesthetics and temperament, with
  4. Liu Ji's Qin Yi (for same) and
  5. Chen Minzi's Qinlu Fa Wei (for same);
  6. Zequan (the Monk)'s (Jiezou, Zhifa) for performance theory, as well as
  7. Cheng Yujian (Lun Qin) and
  8. Zhao Xikuang (Lun Tan Qin for same). And aside from these, there was
  9. Bi Luozi, Zhuo Qin Fa and several other such summaries of qin making experiences.

(Continue with the essay on Zhu Changwen's Qin Shi)

 
Footnotes (Shorthand references are explained on a separate page)

1. Chapter 6 covers these dynasties (dates, capital city [modern name]):

Northern Song (960-1126; Dongjing [Kaifeng])
Liao (907-1125; Dading Fu [Daning?])
Southern Song (1127-1280; Linan Fu [Hangzhou])
Jin (1115-1260; Zhongdu [Beijing])
Yuan (1206-1280-1368; Dadu [Beijing]) (Return)

2. Initial translation by Jin Qiuyu.
(Return)

3. Original here reorganized as a list for convenient reference.
(Return)

Return to the top or to Song-Yuan in the Qinshi Chubian outline.