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Four Arts of the Chinese Scholar  首頁
Elegant Gatherings
 
雅集 1
Yaji in the Western Garden (detail) 2               
In the broadest sense "yaji" are in effect multi-media events such as are depicted on paintings like the one shown at right or the ones linked here. At such gatherings the literati inspire each other through their arts: seeing calligraphy may inspire qin music; the music may inspire a poem, and so forth. There is some further discussion of this, with more associated art, under Four Arts of the Chinese Scholar. Based on the images there and here it may be tempting to distinguish between these two expressions by applying yaji to gatherings where the participants are all collected together and Four Arts where they seem to be gathered within the same space but they have separate focuses; this, however, is quite likely reading too much into the images.3

In the qin world today, though, a yaji most commonly is a gathering at which qin players play for each other. The most common attendees at such gatherings are the students of one teacher, though often their friends or other guests are invited. Such an event might include some social activities or a lecture; otherewise it might be compared in some ways to a student recital.4

The ideal of a multi-media artistic gathering is underlined by the many paintings that were done of the best-known specific yaji, said to have taken place in 1087 in the Western Gardens of 王詵 Wang Shen (1037-ca.1093), a noted calligrapher and connoisseur who had married a daughter of the Song emperor Yingzhong and lived in the capital city, Kaifeng. The famous people said to have been in attendance at this gathering includes quite a few mentioned elsewhere on this site:

  1. 陳景元 Chen Jingyuan (1024-1094; the Mi Fu inscription has him playing qin
  2. 蘇軾 Su Shi (1037-1101)
  3. 蘇轍 Su Che (or Su Zhe; 1039-1112), brother of Su Shi
  4. 李之儀 Li Zhiyi (1038-1117); poet and prose writer
  5. 黃庭堅 Huang Tingjian (1045-1105)
  6. 秦觀 Qin Guan (1049-1100; see Yi Wangsun)
  7. 李公麟 Li Gonglin (1049-1106); a famous painter and antiquarian (Wiki);
    he was apparently a friend of Zhu Changwen
  8. 米芾 Mi Fu (1051-1107)
  9. 晁補之 Chao Buzhi (1053-1110)

There is extant today an account of this gathering attributed to Mi Fu himself, but most likely actually written several centuries later.5 Just as likely, at the time of its writing its account of a multi-media event involving various arts was not presenting a new idea. But how far back one can trace such gatherings perhaps depends on how one defines them. For example, how many arts must be included? Today qin players usually use the term yaji for occasions when they get together simply to play for each other. There may be a long history of such qin gatherings, with this term applied to it, have there been any proper studies of this? Would parties where people would be expected to write poems have been considered as ya ji"? Have there been any writings that satirize as pretentious the claims by people who call their own gatherings "elegant"?

Early examples of artistic gatherings (not to be confused with performances) include the following (in reverse chronological order):

Further research is necessary to show the true origins and various natures of historical yaji. In this it might be interesting to compare yaji with the popularity of "clear talk" (Qing Tan) meetings around the time of the Six dynasties.

 
Footnotes (Numbers refer to entries in Zhongwen Dacidian)

1. Elegant Gathering (雅集 ya ji)
For yaji 雅集, 11/825 has "猶雅會 similar to a yahui" (further below). It then gives the following as its earliest reference:

記曾共西樓雅集,想垂柳還裊萬絲金

This is identified as a phrase from a 詞 ci poem by 姜虁 Jiang Kui (ca. 1155 - 1221) called A Calix Red (一萼紅 Yi E Hong): On the 7th day of the first month going up to Changsha's Dingwang Pavilion (人日登長沙定王臺 Ren Ri Deng Changsha Dingwangtai). Yi E Hong is the name of the ci pattern (1.???); another subtitle for the poem is 古城隱 Gu Cheng Yin, after the first phrase of the poem itself.

The full poem is as follows (the first section is commentary, then the poem itself has two stanzas; the line above mentioning "ya ji" is the third line of the second stanza).

丙午人日,予客長沙別駕之觀政堂。堂下曲沼,沼西負古垣,有盧橘幽篁,一徑深曲。穿徑而南,官梅數十株,如椒、如菽,或紅破白露,枝影扶疏。著屐蒼苔細石間,野興橫生。亟命駕登定王台,亂湘流,入麓山,湘雲低昂,湘波容與,興盡悲來,醉吟成調。

古城陰,有官梅幾許,紅萼未宜簪。
池面冰膠,牆腰雪老,雲意還又沈沈。
翠藤共閒穿徑竹,漸笑語驚起臥沙禽。
野老林泉,故王台榭,呼喚登臨。

南去北來何事?蕩湘雲楚水,目極傷心。
朱戶黏雞,金盤簇燕,空嘆時序侵尋。
記曾共西樓雅集,想垂楊還裊萬絲金。
待得歸鞍到時,只怕春深。   

Not yet translated into English (for a translation into modern Chinese see Baike Baidu).

The second reference at 11/825 is from the Ming novel 儒林外史 Rulin Waishi Chapter 18: "吾靠今日雅集,不可無詩. I am helping today's yaji so I must have a poem."

Surprisingly 42905. seems to have nothing for yaji, since this expression is mentioned in the brief entry under .142 雅會 yahui (next).

Elegant Meeting (雅會 ya hui; here "meeting" really has the same meaning as "gathering")
42905.142 雅會 ya hui says it is "風雅之集會,猶雅集 an elegant gathering similar to a yaji". The earliest quote it gives for yahui is from 劉子翬詩 a poem by Liu Zihui (1101-1147; Bio/662; another reference):

"雅會欣聞珠履集,新詞好付《雪兒歌》".

11/826 gives the same quote for yahui, adding one each from the Ming and Qing dynasties. Liu Zihui's full poem is as follows:

次韻陳成季郡會全文:

疾雨狂風恨若何,芳晨坐覺寺閒過。
惜花意欲春長在,對酒年來飲不多。
雅會欣聞珠履集,新詞好付《雪兒歌》。
風流閣老推前輩,喜客溫顏似醉酡。

The mention of "yahui" is in line three.
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2. 劉松年:西園雅集 Elegant Gathering in the Western Garden (detail), attrib. Liu Songnian
Little is known of this painter other than he lived in Hangzhou during the Southern Song dynasty. There is extensive description of the people said to have been at the gathering, but many say it never really happened. Nevertheless, depictions of the Elegant Gathering in the Western Gardens (often, as here, with the names of the famous people written above them) are said to date back to one attributed to 李公麟 Li Gonglin (1049-1106; further), one of the supposed attendees. Although the attribution of that painting to Li is questionable, the idea of such meetings became very popular during the Ming and Qing dynasties, and they were often depicted in classical and popular art. Many of these can be found online, the one here having been selected because it is one of the ones that shows someone holding a qin: see the upper left corner.

In 2011 available online images depicting this gathering included examples attributed to:

  1. 李公麟 Li Gonglin (1049-1106): detail; the full painting has a colophon attributed to Mi Fu.
    From the website of the Taiwan Institute of History and Philology
  2. 劉松年 Liu Songnian, as above
    From the Epoch Times website; compare this one, also from Epoch Times
  3. ??? (looks more like a gathering of the Seven Sages of the Bamboo Grove): q.v.
    Removed from big5.ce.cn?
  4. 趙孟頫 Zhao Mengfu : q.v. (detail shows qin and ruan)
    From the NPM website, which includes also has a good discussion
  5. 馬遠 Ma Yuan (active 1190-1230): q.v.
    From the big5.ce.cn
  6. Qing dynasty folk art: boxwood brush-holder
    There is a good description at Gathering at West Garden, a page on the China Online Museum website.
  7. Yi dynasty Korean painter 俞致鳳: q.v.
    From a Korean Website
  8. Ming dynasty anonymous painting: Princeton Museum (copy)
    Instead of a single focus this painting arranges the participants as with the Four Arts. The accompanying description says, According to legend, in 1088 a group of sixteen famous statesmen, literati, and artists gathered in the Western Garden of Wang Shen, an imperial son-in-law. The scholar and artist Mi Fu (1052–1107) purportedly wrote an account commemorating the occasion, and Li Gonglin (d. 1106) is said to have painted a scene of the gathering. Regardless of whether this event indeed took place, it entered the cultural imagination and became both a model for later literary gatherings and a theme in painting. Here, the scholar Su Shi is seated at one table practicing calligraphy while Wang Shen and others look on. At another table, Li Gonglin paints a scene taken from literature. Behind them, Mi Fu stands with a brush in hand, inscribing a stone face, and across a bridge a Buddhist sits in a bamboo grove engaged in a discussion on Nirvana.
The famous people said to have attended this gathering are discussed further above.
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3. Comparing "Four Arts" and "Elegant Gathering"
Some "Elegant gathering" paintings in particular may include separate focus on "Four arts", while the four arts paintings may be separating its images by time rather than space.
(Return)

4. Student recital
I do not know to what extent such gatherings for students of other instruments are also called "yaji".
(Return)

5. 米芾 Mi Fu (1051-1107) and his "account"
Mi Fu Wiki was a famous poet, painter, calligrapher and eccentric. There are at least two somewhat different versions of the account attributed to him:

The Account of the Elegant Gathering in the Western Garden (西園雅集圖記 Xiyuan Zaji Tuji):

李伯時效唐小李將軍為著色泉石,雲物草木花竹皆妙絕動人,而人物秀發,各肖其形,自有林下風味,無一點塵埃之氣。其著烏帽黃道服捉筆而書者,為東坡先生﹔仙桃巾紫裘而坐觀者,為王晉卿﹔幅巾青衣,據方幾而凝佇者,為丹陽蔡天啟﹔捉椅而視者,為李端叔﹔后有女奴,雲環翠飾侍立,自然富貴風韻,乃晉卿之家姬也。孤鬆盤郁,上有凌霄纏絡,紅綠相間。下有大石案,陳設古器瑤,芭蕉圍繞。坐於石磐旁,道帽紫衣,右手倚石,左手執卷而觀書者,為蘇子由。團巾繭衣,秉蕉箑而熟視者,為黃魯直。幅巾野褐,據橫卷畫歸去來者,為李伯時。披巾青服,撫肩而立者,為晁無咎。跪而作石觀畫者,為張文潛。道巾素衣,按膝而俯視者,為鄭靖老。后有童子執靈壽杖而立。二人坐於磐根古檜下,幅巾青衣,袖手側聽者,為秦少游。尾冠、紫道服,摘阮者,為陳碧虛。唐巾深衣,昂首而題石者,為米元章。幅巾袖手而仰觀者,為王仲至。前有髯頭頑童捧古硯而立,后有錦石橋、竹徑,繚繞於清溪深處,翠陰茂密。中有袈裟坐蒲團而說無生論者,為圓通大師。旁有幅巾褐衣而諦聽者,為劉巨濟。二人並坐於怪石之上,下有激湍?流於大溪之中,水石潺湲,風竹相吞,爐煙方裊,草木自馨,人間清曠之樂,不過於此。嗟呼!洶涌於名利之域而不知退者,豈易得此耶!自東坡而下,凡十有六人,以文章議論,博學辨識,英辭妙墨,好古多聞,雄豪絕俗之資,高僧羽流之杰,卓然高致,名動四夷,后之覽者,不獨圖畫之可觀,亦足仿佛其人耳!

This was the way it was copied in the Ming dynasty by the famous artist 董其昌 Dong Qichang (1555-1636):

西園雅集圖記。
李伯時效唐小李將軍。為著色。泉石雲物草木花竹皆絕妙動人。而人物秀發。各肖其形。自有林下風味無一點塵埃氣。不為凡筆也。其烏帽黃道服捉筆而書者為東坡先生。仙桃巾紫裘而坐觀者為王晉卿。青衣據方机而凝竚者為丹陽蔡天啓。捉椅而視者為李端叔。後有女奴。雲鬟翠飾。侍立自然。富貴風韻。乃晉卿之家姬也。孤松盤鬱。上有凌霄纒絡紅綠相間。下有大石案。陳設古器瑶琴。芭焦(蕉)圍繞。坐於石傍。道帽紫衣。右手倚石。左手執卷書者為蘇子由。團巾繭衣。手秉焦箑而熟觀者為黃魯直。幅巾野褐。據橫卷畫淵明歸去來者為李伯時。披巾青服。撫肩而立者為晁無咎。跪而捉石觀畫者為張文潛。道巾素衣。按膝而俯視者為鄭靖老。後有童子執靈壽杖而立。二人坐於盤根古檜下。幅巾青衣。袖手側聽者為秦少游。琴尾冠。紫道服。摘阮者為陳碧虛。唐巾深衣。昻首而題石者為米元章。袖手而仰觀者為王仲至。前有鬅頭頑童捧古硯而立。後有錦石橋。竹逕繚繞於清溪深處。翠陰茂密。中有袈裟坐蒲團而説無生論者為圓通大師。傍有幅巾褐衣而諦聽者為劉巨濟。水石潺湲。風竹相吞。爐烟方裊。草木自馨。人間清曠之樂不過於此。嗟乎。洶湧於名利之域而不知退者豈易得此耶。自東坡而下凡十有六人。以文章議論。博學辨識。英辭妙墨。好古多聞。卓然高致。名動四夷。後之攬(覽)者。亦足仿佛其人耳。己巳(西元一六二九年)三月稧日。董其昌書。

However, like the painting it accompanies, this account is thought to date from much later.
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