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YCTQP     Preface     Yangchuntang Qinjing ToC 首頁
Yangchun Tang Qinpu
Qin Handbook of Sunny Spring Hall 1
  		陽春堂琴譜目錄
1611
"The modern way of carrying a qin"2                            
Table of Contents (original volume)

    --  張大命自序 Zhang Daming's own preface (VII/343)
    --  目錄 Table of Contents (VII/344)

        Folio 1 (Introductory articles)

    --  琴學須知 (VII/347)
    --  上琴要法 (VII/347)
    --  對琴法 (VII/348)
    --  挂琴法 (VII/348)
    --  定絃要法 (VII/349)
    --  正調品絃 (VII/350)
    --  外調轉絃 (VII/350)
    --  操縵引 (Caoman Yin longhand tablature version; VII/351)
    --  抱琴式 (VII/352)
    --  右手指法 (VII/353)
    --  左手指法 (VII/354)
    --  兩手統說 (VII/357)
    --  兩手取勢 (VII/357)
    --  彈琴要說 (VII/365)

    Folio Two

  1. Gong Yi (Gong Modal Prelude; 1; VII/366)

  2. Dongtian Chunxiao (18; VII/366)
    From     1602

  3. Xun Fang Yin (4; VII/371)
    Only here and     1596

  4. Yang Chun (15; VII/372)
    See     chart under 1425

  5. Yi Qiao Jin Lü (7; VII/375)
    From     1539

  6. Guanghan You (8; VII/377)
    From 1425 (see     chart)

  7. Shang Yi (Shang Modal Prelude; 1; VII/379)
    From     1425

  8. Si Xian Cao (7; VII/380)
    From     1511 Ya Sheng Cao, but no lyrics (compare Si Xian, below)

  9. Bai Xue (12; VII/382)
    From     1425

  10. Yi Lan (漪蘭; 12; VII/385)
    See in     chart

  11. Guanghan Qiu (3; VII/387)
    From     1425

  12. Huai Shui Xian (懷水仙; 4; VII/388)
    From     1590

  13. Huai Gu Yin (4; VII/389)
    From     1546 Yikuang Yin (details under the Huai Gu Yin of 1525)

    Folio Three

  14. Jiao Yi (Jiao Modal Prelude; 1; VII/390)
    From     1425

  15. Xishan Qiu Yue (18T; VII/391)
    From     1589 Jishan Qiu Yue

  16. Liezi Yu Feng (9; VII/396)
    From     1425

  17. Zhi Yi (Zhi Modal Prelude; 1; VII/398)
    From     1425

  18. Yu Hui Tu Shan (13; VII/398)
    From     1425

  19. Guan Ju (10; VII/401)
    From     >1505

  20. Qiao Ge (10; VII/404)
    From     1425

  21. Shan Ju Yin (4; VII/406)
    From     1425

  22. Yu Yi (Yu Modal Prelude; 1; VII/407)
    From     1425

  23. Zhi Zhao Fei (14; VII/408)
    From     1425

  24. Han Gong Qiu (9; VII/411)
    Different from     1525

  25. Pei Lan (14; VII/413)
    From     1539

  26. Wei Bin Yin (3; VII/417)
    From     1539

    Folio Four

  27. Shangjiao Yi (Shangjiao Modal Prelude; 1; VII/418)
    From     1425

  28. Mozi Bei Ge (10; VII/418)
    From     1589

  29. Shenhua Yin (5; VII/421)
    From     1425

  30. Guxian Yi (Guxian Modal Prelude; 1; VII/422)
    From     1425

  31. Fei Ming Yin (6; VII/423)
    From     1425

  32. Qiu Hong (36; VII/424)
    From     1425

  33. Ruibin Yi (Ruibin Modal Prelude; 1; VII/429)
    From     1425; "即金羽意 same as Jinyu Yi"

  34. Le Ji Yin (1; VII/430)
    No lyrics; much longer than     >1505 Yu Ge Diao; loose connection.

  35. Yu Ge (18; VII/430)
    Related to     >1505 but quite different

  36. Xiao Xiang Shui Yun (10; VII/434)
    From     1425

  37. Huangzhong Yi (Huangzhong Modal Prelude; 1; VII/436)
    From     1425

  38. Chao Hui Yin (1; VII/437)
    From     1589

  39. Da Ya (9; VII/437)
    From     1425

  40. Qiliang Yi (Qiliang Modal Prelude; 1; VII/439)
    From     1425 (chushang?)

  41. Chu Ge (9; VII/440)
    From     1425

  42. Qu Yuan Wen Du (9; VII/442)
    From     >1505

    Continuation: Qinpu Qimeng (Initiation into Qin Tablature)

    Zhang Daming's Introduction to the Continuation of the Printed Handbook Qinpu Qimeng (VII/444)
      (See     original; includes comment on why all these melodies have lyrics.)
    Table of Contents for the Yangchun Tang Qinpu Continuation (VII/445)
    Explanation of finger techniques (刪選捷要字母; VII/445)

  43. Si Xian Cao (7T,L; VII/446)
    From     1511 Ya Sheng Cao, including lyrics (compare Si Xian Cao, above)

  44. Teng Wang Ge (18,L; VII/450)
    From     1585

  45. Gui Qu Lai Ci (6T,L; VII/455)
    From     1511

  46. Ke Chuang Ye Hua (8T,L; VII/457)
    From     1511

  47. Yu Qiao Wen Da (8T,L; VII/460)
    From     1559

  48. Xiang Fei Yuan (5,L; VII/464)
    From     1511

  49. Feng Qiu Huang (1,L; VII/465)
    有美人兮....(from 1539; see in     chart)

  50. Lou Shi Ming (1,L; VII/466)
    From     1539

  51. Shitan Zhang (5T,L; VII/467)
    From     1592

  52. Yangguan Sandie (3T,L; VII/471)
    From     1530 (see in chart)

    Wang Yu Afterword (王宇跋; VII/472)
    Yang Rongguang Afterword (楊容光跋; VII/460)
    (Last page is missing)

    Introduction to Taigu Zhengyin Qinpu (1669; VII/475)
    Introduction to Revised Edition of Taigu Zhengyin (VII/476)

  53. Zhao Jun Yuan (4,L; VII/478)
    From     1425 but with lyrics: 秋木萋萋，其葉萎黃....

  54. Chibi Fu (11T,L; VII/???)
    Zha Guide     Chibi Fu mentions this, (111)69 includes it (after #44, before #53 - the list there is in a different order), and [809]285 has lyrics (for Qian Chibi Fu), but it is not in the QQJC edition (compare others)

 
Footnotes (Shorthand references are explained on a separate page)

1. Qin Handbook of Sunny Spring Hall (陽春堂琴譜 Yangchun Tang Qinpu)
See further information.
(Return)

2. The modern way of carrying a qin
Image from Yangchuntang Qinpu, QQJC VII/352-3. The text in the box, upper left, is as follows (compare the ancient way),

今人以背向外、以面向內，以手管定龍池＿ ＿便也。
Modern people think the back of the qin should face outwards; they think the front should faced inwards, so that the hand can control the "dragon pond" (large sound hole; two characters are unclear).

See also other images from this handbook.
(Return)
 

附錄 Appendix
陽春堂琴經 Yangchungtang Qin Jing
目錄 Table of Contents
(Further comments)

    葉向高琴經首序 (QQJC VII/231)
    劉大任序
    張大命自序

    目錄

  1. 卷一文集 (VII/236)
    琴學淵源上
    琴學淵源下

  2. 卷二 (VII/249)
    操縵指訣 (Various lists of rules)

  3. 卷三 (VII/254)
    字譜源流 (Tablature Notation: Origins and Development; compare     here)
    This short essay seems to be the author's preface to the section here explaining how qin tablature works:

    字譜之作，其來尚矣。始於徃古周、趙諸公，集字成譜，該載諸音。然用意周備其文甚繁， 動越兩行，未成一句。至後世有曹柔者出，乃作減字法，字簡而義盡，文約而音該，曹氏之功，於是為大矣。 乃近世增其繁文，去其切要，篇簡錯亂，觀者懵然。不佞歷訪名師，遍察古譜，辨正差訛，咠成一家，庶使學者便曉云。
    二手統名。

    Here in the first line "周趙諸公" presumably means "Yongmen Zhou, Zhao Yeli, et. al."), so after mentioning longhand tablature the writer goes on to praise the work of Cao Rou. This seems to be an expansion of the account in Taiyin Daquanji, Folio 5 (see under Yongmen Zhou). Here is a translation:

    The creation of tablature notation (for the qin) has a long history. It began in antiquity with esteemed figures such as Zhou (Yongmen Zhou) and Zhao (Zhao Yeli), who organized characters so as to form tablature, writing them in such a way that they described how to produce sounds. However, while their approach was thorough and comprehensive, the text was excessively lengthy, sometimes spanning more than two lines without forming any complete phrases.

    In later generations, a certain Cao Rou emerged and introduced the shorthand tablature method. His system simplified the characters while retaining their full meaning, making the text more concise while still covering all necessary sounds. Master Cao (or "Cao and his lineage?) in this regard made truly significant contributions.

    However, in recent times, although they have added repeated explanations they have also obscured essential elements. The sections have become disordered and confusing, leaving readers bewildered. Not being talented myself, I have sought out renowned masters, examined ancient tablatures extensively, corrected errors and discrepancies, making it into a more cohesive system. My hope is that it will provide clarity and convenience for future learners.

    Now, general terms for each hand.

    (There follows several pages of fingering explanatios, through to the bottom half of VII/259.)

  4. 卷四 (VII/259)
    博古名操 (Introductions to various old qin titles)

  5. 卷五行集 (VII/264)
    歷代名琴 (Diagrams of old qin types)

  6. 卷六 (VII/274)
    古琴辨 (Appraising old qins)

  7. 卷七 (VII/277)
    斵法 (Making qins)

  8. 卷八 (VII/283)
    琴社 (The qin in society: the correct environment for playing)

  9. 卷九忠集 (VII/286)
    大雅嗣音 (Old stories about qin)

  10. 卷十 (VII/299)
    琴雋 Qin Jun (Praising qin in poetry, etc.)

  11. 卷十一信集 (VII/319)
    琴窗雜記上 Qinchuang Zaji (Various accounts giving a Window into the Qin, Part I)
    琴窗雜記下 (Same, Part II; includes     Shantang Sikao story)

  12. 卷十二 (VII/330)
    格古要論 (Old essays on the qin)

  13. 卷十三 (VII/333)
    煞風景 Destroying the environment
    (More essays, beginning "古人以「煮鶴燒琴」為煞風景....The ancients had the expression, "Cook a crane (for food) and burn a qin (as fuel)", to refer to destroying the environment....")

  14. 卷十四 (VII/336)
    琅嬛記 Lang Huan Ji
    Also written 嫏嬛記 (same pronunciation). According to 6719 = 21632.9 瑯嬛記三卷 Record of the Heavenly Library, it is said either to be a Ming book pretending to be Yuan, or a collection of stories compiled in the Yuan dynasty by 伊士珍 Yi Shizhen.

    陳五昌跋

    （附）太古正音琴經序 (VII/339)

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