Dahuan'ge Qinpu Preface

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Dahuan'ge Qinpu
Qin Handbook from the Pavilion of Great Restoration

大還閣琴譜
1614

Preface
by Zha Fuxi, edited by Wu Zhao.¹
from Qinqu Jicheng, Vol. 10
Beijing, Zhonghua Shuju Chuban Faxing, 2010

This is a tentative translation requiring further study.

Towards the end of the Ming dynasty, Xu Shangying from Shuangdong compiled (this handbook) and Xia Pu (夏溥? )from the Qing period put it in order. Xu Shangying, styled Qingshan, changed his given name to Hong ("Xu Hong") after the fall of the Ming dynasty and styled himself as "Rock Floating Mountain Man. During the Wanli era [1573–1620], he studied the qin with renowned player Chen Xingyuan in his hometown of Lou Dong, learning pieces like "Xiaoxiang Shuiyun" among others. He later interacted with the Yushan qin school members, such as Yan Che and Shi Dingyue, integrating their wisdom into his own practice and eventually became a prominent qin artist of the Yushan school in late Ming.

This handbook is also known as the "Qingshan Qinpu." According to a preface by Lu Fu, a member of the community, "In the tenth month of the Jiashen year [1644], guests in the monk's cell invited Mr. Xu's friend to compile his private collection of scores, bestowing it with a qin impression, and thus a book was made." From this, it is evident that the final compilation of this manual was done before the tenth month of the Jiashen year.

This handbook, along with the "Songxing Guan Qinpu" by Yan Zheng from Changshu during the Wanli era of the Ming, are two central documents representing over 300 years of the Yushan qin school. There was extensive dissemination of this manual in the Qing period and numerous reprints have made it commonly available in rare book stores today (i.e., ca. 1960). However, with the passage of time, the copies have often suffered from varying degrees of damage and inconsistency. A complete version includes, besides the prefaces and postfaces, the following parts: "Wanfen Pavilion Fingering Commentary," "Twenty Poses for the Left and Right Hands Explained with Illustrations," five sets of "Playing the qin Norms," thirty-two pieces of "Qin Music," and fourteen discourses of "Xishan Qin Observations." Yan Zhen’s manual was unsophisticated and rough, but the publications of the Dahuan'be Qinpu made the Yushan school's qin theory seem comprehensive.

This book, at a minimum, has at least two printed editions. In Xu Shangying's later years, an obscure Peng Shisheng published an edition for him. In the twelfth year of Kangxi, term guichou [1673], Cai Yurong used a manuscript preserved by Xu's student, Xia Pu, to publish a reprint. Cai, an official (Governor-General of Sichuan and Guangdong during Wu Sangui's rebellion; after Wu Sangui's suppression, Governor-General of Yunnan and Guizhou), had his print's craftsmanship superior to Peng's, allowing it to be widely disseminated. Consequently, the Peng edition became harder to find and only occasionally, its prefaces or examples would be intermingled when booksellers patched books or created reprints from Peng's editions. On examination of numerous versions, the music score section seems to entirely derive from Cai's edition. Though this book contains several sections, whether Peng's edition included music scores remains uncertain. Evidence hints that Xia Pu and Cai Yurong must have made alterations when proofreading Xia’s archived manuscript. If Peng's edition containing music scores were found, it would provide valuable reference materials.

This edition reproduces early prints of Cai’s reprint edition from the collection of Mr. Li Yunzong from Tianjin. From the front of the book the content is prefaces (in vary large print) by,

Cai Yurong, called "Introduction to Qingshan Qinpu", dated the twelfth year of Kangxi (guichou 1673)
Qiner Jinhuan (Prince of Shuncheng) of the seventeenth year of Kangxi (wuwu 1676),
(Then long and in smaller print by)
Yi Heng, a friend of Xia [Pu]), Preface,
Xu Yu, a disciple of Xia (Pu), "Remarks on Learning Qin".
Xia Pu, Preface to Mr. Xu Qingshan's Qin Tablature
Qian Fen, a disciple of Xu Qingshan, Preface (Ming Chenzhen 17th year: 1644)
Lu Fu, a disciple of Xu, Preface (1644) and
Xia Pu's own "Preface to Xu Qingshan’s qin Manual".
After this is Xu Qingshan's famous essay Xishan Qin Kuang.
and finally a list of the 32 melodies in the handbook.
The original version of this edition lacked the "Wanfen Pavilion Fingering Commentary," Xu's own prefaces, the "Twenty Poses for the Left and Right Hands Explained," "Norms of Playing Qin" and Peng’s preface, which have been supplemented with Wu Zhao's copy. There are also different "Examples" pages from a version in the possession of researcher Zha Fuxi, which are included as references appended behind the early Cai reprint collected by Li.
The original text is:
大還閣琴證
明末雙東徐上瀛提，清夏溥訂正。徐上瀛，號青山，明亡後改名谼，號石泛山人。萬曆間，在其家鄉婁東從名琴家陳星源學琴，得其《瀟湘水雲》等曲。後與虞山派嚴澈、施碉樂等人相交往，採擷英華，熔於一爐，終於成爲獨步明末虞山琴壇的著名琴家。
此諸又名《青山琴譜》。據社友陸符序稱：「甲申十月，僧寮客舫，邀徐君日出所藏譜訂之，冠以琴況，勒成一書。」由此可知，此譜最後编定當在甲申十月以前。
此譜與明萬曆間常熟嚴徵的松絃館琴譜是代表三百多年來號稱虞山派琴學的兩個中心文獻。在清代刊行的琴諧中，此譜流傳頗廣，翻刻也很多，至今仍是古籍書店中常見之本。但歷時過久，均有不同程度的殘缺、羼雜。完足本，除序跋外，包括下列幾個組成部分：《萬峰閱指法閎箋》、《左右手二十勢圖說》、《彈琴規範》五則、琴諧三十二曲、《溪山琴况》十四論。松絃館的譜法簡要粗疏，大選閣譜一出，虞山派的琴學就顯得體系完整了。
此書至少有兩個刻本。在徐上瀛晚年，一個不甚知名的彭士聖，曾爲他出了一個刊本。到康熙十二年癸丑（一六七三）蔡毓榮又用徐的琴弟子夏溥收藏的稿本重刻一次。蔡是高官（吴三桂反前川廣總督；吴三桂平後雲貴總督）。他的刻本比彭本的刻工好得多，因而得以流傳。自此，彭本就不容易見到了，只是書商在拼湊書頁或翻刻時，偶將彭的序文或凡例羼人。我們檢查過許多版本，曲譜部分全是蔡刻。由於此書的組成部分較多，彭本是否刊有曲譜，也難断定。許多情况說明夏溥、蔡毓榮在校訂夏藏稿本中必有竄改。如果彭本收有曲譜而終能發現，那將是很有價值的參攷資料。
本編用天津李允中先生所藏蔡刻早印本影印。書中首列蔡毓榮康熙十二年癸丑（一六七三）的《青山琴譜序》，次列康熙十七年戊午（一六七六）勤爾錦（順承王）序、夏友伊桓序、夏之弟子徐愈的《學琴說》、辛巳（明崇禎十四年、一六四一）徐的弟子錢棻序、甲申（明崇禎十七年、一六四四）徐之弟子陸符序及夏溥《徐青山先生琴譜序》。各序之後爲凡例和徐的琴論名著《溪山琴況》，最後爲曲目及三十二首琴曲譜。
此本原缺《萬峰閣指法閎箋》、徐氏自序、《左右手二十勢圖說》、《彈琴規範》五則及彭土聖序，現均用吴釗藏本補齊。另有查阜西藏本《凡例》頁，與蔡刻早印本不同，也一並附於李本之後，作爲參攷。
查阜西識

Footnotes (Shorthand references are explained on a separate page)
1. From QQJC X/iii. See further comment about the authorship.
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