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Qinshu Cunmu
Catalogue of Qin Books 1 |
琴書存目
1915 |
In 1915 Zhou Qingyun published this annotated catalogue in six folios of 321 qin books. In general, if he knew where the book could be found he gives at the front of the entry a reference to the edition or to the collection that included it (here marked **).3 Many of the entries are based on references in old histories or book collection catalogues.4 Zhou expresses skepticism about the true authorship of a number of them, and clearly many of these books no longer exist. In some cases much of their content may be available through citations in other texts; for these Zhou may give extensive commentary or quotes. In other cases all he had was a listing in an old catalogue, so Zhou simply gives that reference.5
The handbook of Master Zhao (who was from 渤海 Bohai) is said to have consisted of seven melodies played by a 丞相 top advisor under the emperor Han Xuandi (r. 73 - 49), Wei Xiang. If so, it may be the earliest record of actual written music (longhand tablature?) for qin. Wei Xiang (魏相 46879.158, from 定陶 Dingtao, style name 弱翁 Ruoweng) is well-known in history, and yet there seems to be no mention of him elsewhere in qin sources. This perhaps suggests that he was not a significant player, but that, as he was learning some melodies from Master Zhao, he had them written out in notation.
卷二 Folio II
劉氏周氏等選 Liu and Zhou families (ref: 舊唐志 Jiu Tang Zhi); 1 line
陳懷 Chen Huai (see
Chen Huaigu); 4 lines
Author unknown; see separate entry; 35 lines
Recorded in 新唐書 Xin Tang Shu following #31 and before #34; mentioned in connection with #25 above (a list of 38 melodies)
曹柔 Cao Rou; 2 lines
Commentary says Cao Rou wrote it and Zhao Yeli (see next) revised it
趙耶利 Zhao Yeli; 3 lines
趙耶利 Zhao Yeli; 15 lines
趙耶利 Zhao Yeli; 5 lines
趙耶利 Zhao Yeli; 28 lines
唐僧道英 Tang Monk Dao Ying; 3 lines
司馬承正 Sima Chengzheng; 6 lines
唐玄宗 Tang emperor
Xuanzong (李隆基 685 - 762); 2 lines
also called 金風樂弄; melody names
Dong Tinglan; 23 lines
薛易簡 Xue Yijian; 64 lines
(further details)
薛易簡 Xue Yijian; 2 lines
** In 玉函山房輯本 Yuhan Shanfang Ji, 1 Folio
趙惟暕 Zhao Weijian (Tang; Bio/1671); 23 lines
陳拙 Chen Zhuo; 3 lines
陳拙 Chen Zhuo; 12 lines
陳拙 Chen Zhuo; 2 lines
陳拙 Chen Zhuo; 1 line
李勉 Li Mian; 27 lines
李良輔 Li Liangfu; does not mention # of sections; 4 lines
李約 Li Yue; tablature for his Dongbiao Yin (Dongshao Yin?); 14827.xxx; 14810 杓 has biao, diao or shao; biao can refer to 北斗柄星 a star in the handle of the Big Dipper. 3 lines
呂渭 Lü Wei; 24 lines
獨孤實 Dugu Shi (bio/xxx), son of 獨孤愐 Dugu Mian (Bio/1758; a cousin of Dugu Ji); 3 lines
齊嵩 Qi Song (49553.xxx; perhaps the Zhai Song 齋嵩 49558.xxx mentioned in
Zhi Yan, but not 齊松 Qi Song);
he was a 殿中侍郎 assistant minister in the palace; qin construction; 2 lines
QSDQ, Folio 10, and
TYDQJ, Folio 4 (#3), include his Tan Qin Lun
唐僧辨正 Tang Monk Bian Zheng (Bio/xxx); 1 line
蕭祐 Xiao You; 9 lines
王大力 Wang Dali (Bio/xxx; 5960.5xxx); 6 lines
陳康士 Chen Kangshi; 10 lines
Qin tablature for 100 章 zhang in 11 sections (? sections have names like 宮調 as well as 離騷).
陳康士 Chen Kangshi and others; 4 lines
陳康士 Chen Kangshi; 4 lines
陳康士 Chen Kangshi; 5 lines
陳康士 Chen Kangshi; 3 lines
Tablature for 10 melodies
(listed: see also in Rao,
Section 2)
陳康士 Chen Kangshi; 2 lines
陳康士 Chen Kangshi; 1 line
陳康士 Chen Kangshi; 1 line
陳康士 Chen Kangshi; 1 line
姚兼濟 Yao Jianji; 2 lines
Quoted extensively in Qinyuan Yaolu
王邈 Wang Miao ("during 907 - 911"; Bio/xxx); 1 line
蔡翼 Cai Yi (南唐 10th c.); see also next; 4 lines
Has a quote a bit different from the one in YFSJ, p.861, attributed to "Cai Yi, 琴曲 Qin Qu"
蔡翼 Cai Yi of Southern Tang; see also previous; 2 lines
"見崇文目（崇文總目）通志略作蔡逸。秘書目有阮譜一卷，無此目" (Cai Yi? Bio/xxx; Mi Shumu? 25215.27 秘書 -- also #84 below)
劉籍 Liu Ji (2270.xxx; Bio/xxx; Zhou Qingyun thinks he was 10th c.); 3 lines
QSCB, 6.C. discusses Liu Ji's Qin Critique; the full quotes can be found in QQJC, I., pp. 73/4
The essay there is in Taiyin Daquanji Folio 4; it has no author's name and is called 琴議篇 Qin Yi Pian
Ibid., Folio 5 (p.79) has finger techniques said to come from 劉籍，琴議 Liu Ji Qin Yi;
Compare #75 below;
and see also Liu Ji, Lun Tan Qin
Writer unknown; contents mentioned (see also
Rao); 3 lines
張淡正 Zhang Danzheng; 2 lines
Writer unknown; 1 line
Writer unknown?; only reference in #75 is to YFSJ, Folio 59, #2; 2 lines
Compare 琴義 Qin Yi, #71 above
Writer unknown; 2 lines
Writer unknown; 3 lines
Writer unknown; 2 lines
Writer unknown; 2 lines
Writer unknown; 2 lines
Writer unknown; Jiangsheng 42556.84: no mention of melody; 2 lines
Writer unknown; 2 lines
Writer unknown (compare above); ref. 崇文目釋 seems to say it was in shang mode; 1 line
Writer unknown; see 秘書目 Mi Shumu; 1 line
Writer unknown; see 日本現在書目 (14048.xxx) Japan Modern Book Index; 1 line
"Writer unknown"; perhaps this is the collection of finger techniques in the
Hikone manuscript
QSCB Folio 4 says by Chen Zhongru; 1 line
日本現在書目 (14048.xxx) Japan Modern Book Index suggests a Qinyong Zhifa in Japan attributed to Zhao Yeli
Huang, p.148 says it is a "林謙三傳鈔本晒印 Hayashi Kenzo handcopy blueprint".
Writer unknown; see 日本現在書目 (14048.xxx) Japan Modern Book Index; 1 line
Writer unknown; see 日本現在書目 (14048.xxx) Japan Modern Book Index; 1 line
卷三 Folio III
Song dynasty's Taizong Emperor; 22 lines
Song dynasty's Taizong Emperor; 10 lines
Zhu Wenji; 1 line
崔遵度 Cui Zundu;
quoted in Qinyuan Yaolu and discussed in QSCB, Chapter 6c3; 58 lines
阮逸 Ruan Yi (11th c.; Bio/755; 42489.56); see next and in QSBL; 7 lines
阮逸 Ruan Yi (see previous); 3 lines
令孤子先 Linggu Zixian (400.xxx; 7072.137xxx; 4 lines
Writer unknown; at end it says 景祐 period (1034-38); quoted extensively in
Qinyuan Yaolu; 11 lines
則全和尚 Zequan Heshang (2039.xxx); in Qinyuan Yaolu and discussed in
QSCB, 6C6; 15 lines
吳良輔 Wu Liangfu; 5 lines
** An old handcopied volume; 11 lines
Writer unknown; the handcopied volume has been re-copied and printed
** A volume in Yuefu Shiji (Folios 57 to 60); 6 lines
郭茂倩 Guo Maoqian (12th c.) arranged his collection into 12 門 categories, of which this was one
** In 四庫全書 Siku Quanshu (Vol. 839), 舊鈔本 an old hand copy, and a 楝亭刊本 Lianting imprint
Zhu Changwen;
see separate entry; 35 lines
朱伯原 Zhu Boyuan (Zhu Changwen);
ref: Jiangyunlou Book Index (title only); 6 lines
** 說郛本 In Shuo Fu; 4 lines
蘇軾 Su Dongpo
** 說郛本 In Shuo Fu; 2 lines
陳暘 Chen Yang (11/12th c.; Bio/1332)
Writer unknown; 2 lines
Writer unknown; 1 line
周紫芝 Zhou Zizhi (1082 - ?; Bio/1551), style name 少隱 Shaoyin; from Shaoxing; 4 lines
朱熹 Zhu Xi (part of a larger work that also has other qin references?); 28 lines
** 乾隆癸亥刊本 1778 imprint
姜夔 Jiang Kui; 14 lines
姜夔 Jiang Kui; 30 lines
張巖 Zhang Yan; 6 lines
** 舊抄本 Old handcopied volume; 31 lines
徐理 Xu Li; double line columns for quotes (Xilutang Qintong has complete version, III/11-37 ?);
Two excerpts (prefaces): 追古 Zhui Gu (Seeking Antiquity; text more clear than in XLTQT (III/11);
外篇敘 Waipian Xu (Discussion of Extra Essays; text also more clear than in XLTQT, III/27)
Detailed discussion of it in
QSCB under Qinlü Fawei (p.118) mentions influence on
Xilutang Qintong
琴圖，一卷 Qin Tu: Qin Diagrams
宋麴瞻 Qu Zhan of Song (Liu Song 420 - 479?); quoted in Qinyuan Yaolu; 5 lines
王大方 Wang Dafang; 3 lines
馬以良 Ma Yiliang; 2 lines
石孝隆 Shi Xiaolong; 1 line
荀以道 Xun Yidao; 2 lines
吳良輔 Wu Liangfu; 3 lines
李如篪 Li Ruchi; 1 line
趙德先 Zhao Dexian (compare #141 below); 1 line
騰康叔 Teng Kangshu; 1 line
徐于 Xu Yu (? see Xu Tianmin); 1 line
何薳 He Wei; 1 line (says only that it was a 本 volume in his News from the Water's Edge on a Spring Day (春渚紀聞 Chunzhu Jiwen: quotes?)
** 說郛本 "In
Shuo Fu" (also in TKW,
Qin Fu, pp. 1695 - 6)
One line: "Compiled by 釋居月 Priest Ju Yue" (Shi Juyue; Shuo Fu actually has Seng Juyue; see also #131)
碧落子 Bi Luozi, nickname of Shi Ruli; included in QYYL as Biluozi Zhuo Qin Fa; 7 lines
Discussed in Xu Jian, QSCB, 6.C.
石汝礪碧落子 Shi Ruli Bi Luozi; 8 lines
齊松 Qi Song (not 齊嵩 Qi Song); only reference is to
Qinyuan Yaolu; 1 line
趙希曠 Zhao Xikuang (Bio/xxx); 1 line
(Compare Lun Tan Qin in QSDQ, Folio 10)
趙維則 Zhao Weize (Bio/xxx); 1 line: says only to see 虞氏古琴疏; compare 趙惟則 (Bio/xxx) quote 1 and
quote 2.
楊公纘 Master Yang Zuan; "see 千頃堂書目 Qianqingtang Shumu" (NFI); 1 line
elsewhere it is said this compilation had 468 melodies
僧居月 Seng Juyue (Monk Ju Yue; see also #124;
1 line: "compiled by the Song dynasty's Seng Juyue; see 千頃堂書目
Qianqingtang Shumu")
Writer unknown; see Qinyuan Yaolu (much of it copied here); 35 lines
Writer unknown; quoted in Qinyuan Yaolu; 9 lines
Writer unknown; 2 lines
Writer unknown; 1 line
Writer unknown; 1 line
Writer unknown; 1 line
Writer unknown; 1 line
Writer unknown; 1 line
Writer unknown; Shaowei (14172.xxx) "is perhaps someone's name"; 1 line
Writer unknown; (compare #120 above); 1 line
Writer unknown; 1 line
Writer unknown; 1 line
Writer unknown; not the same as the Gu Qin Shu of 虞汝明 Yu Ruming; 1 line
琴苑集， 一冊 Qin Yuan Ji: Qin Miscellany Collection
琴苑須知，一冊 Qin Yuan Xu Zhi: Qin Miscellany of Things to Know
Writer unknown; 1 line
Writer unknown; "see 菉竹唐書目 Luzhutang Book Index"; 1 line
Compare Qinlü Fawei
Writer unknown; 1 line
卷四 Folio IV
俞琰 Yu Yan; a 俞琰琴譜 Yu Yan Qinpu is listed in Qianqingtang Shumu (title only); 6 lines
** 松雪集本 In the Songxue Collection; 12 lines
趙孟頫 Zhao Mengfu
** 學海類編本 In Xuehai Leibian
吳澄 Wu Cheng (1249 - 1333; Bio/1046; ICTCL, p.111); well-known Confucianist from Jiangxi, style name 幼清 Youqing
Studied qin from He Zhong; his Ten Rules plus the translation by Van Gulik are included in the Appendix below.
鐵柱 Tie Zhu (Yuan; Bio/xxx), style name 明善 Mingshan; 畏吾人 a Uighur
Quotes 千頃堂書目 Qianqingtang Shumu saying Zheng Ying comments on
Yang Zuan and his group's
Zixiadong Pu in 13 folios
Epilogue by Song Lian
苗彥實 Miao Yanshi (Miao Xiushi)
** 隸書寫本裝成手卷 Lishu Xieben Zhuangcheng Shoujuan
朱右 Zhu You
** 說郛本 In Shuo Fu; listed in Qianqingtang Shumu as 虞汝明古琴疏; 1 line
虞汝明 Yu Ruming (Bio/xxx; 17517.40 汝明: no 虞); not the same as an earlier Gu Qin Shu
Has a passage about Ruan Zhan and is quoted in several Qin Shi Bu biographies
** Same as the 琴箋圖式 Qinjian Tushi, 說郛本
in Shuo Fu (? Shuo Fu ToC says by
Zhao Si?)
陶宗儀 Tao Zongyi; 3 lines
** Same as the 琴箋圖式 Qinjian Tushi, 說郛本
in Shuo Fu (? see previous entry); 1 line:
陶宗儀 Tao Zongyi "listed in 家居必備總目 Jiaju Bibei Zongmu" (? 7322.78xxx)
冷謙 Leng Qian; 5 lines
See original: translation in Van Gulik, Lore, pp. 107 - 116 ("Sixteen Rules for the Tones of the [Qin]")
A later forgery? Compare Qin Kuang, the 24 rules of Xu Hong
冷謙 Leng Qian
(Qianqingtang Shumu has only the title, 冷謙太古正音); apparently lost; 2 lines
** 江西弋陽王府刊本 Imprint of Jiangxi's Yiyang Prince's Household
Zhu Quan (Qianqingtang Shumu only lists the title); 7 lines
** 天一閣書目作二卷刊本
Tianyi Ge Book Index
(Xuxiu Siku Quanshu, Vol. 920, p.141, under 子) attributes it to Zhu Quan and quotes his preface, but then says it is a two folio 刊本 imprint, and according to Zha Fuxi is actually the only surviving copy of Zheyin Shizi Qinpu!
Zhu Quan; 1 line (!)
Compiler not mentioned but see content is same as that of Qinshu Daquan (see comment).
Listed in 千頃堂書目 Qianqingtang Shumu; 5 lines
Correctly it is Meixuewo Shanrun Qinpu (15223.xxx) by
Xu Shen (10363.xxx). The catalogue referenced, 千頃堂書目 Qianqingtang Shumu, says, 徐詵梅雪窩刪潤琴譜 Xu Shen Mei (interpreted here as Xu Shenmei?) Xuewo Shanrun Qinpu. It adds, 寧波人 from Ningbo, 永樂中官訓導 an official (or teacher in a Confucian school) during 1403-25, 浙操琴指所自始 founder of the Zhe school of qin. See also Xu Jian's history, Chapter 7.A.1. 2 lines
Zhu Quan; 1 line
懶仙 Lan Xian, hand-copy, preface as in QQJC I/145; 27 lines
Zhu Houying, 高唐王 Prince of Gaotang (1540-83; pseudonym 岱翁 Daiweng; studio name 時習軒 Shixixuan) was a grandson of 衡菾王 the Prince of Hengtian (朱祐楎 Zhu Youhui 14779.404); Hengtian was part of the principality of 衡 Heng (青州 Qingzhou, near Jinan in Shandong). He and Zhu Houbing, Prince of Jidong (also Shandong), engaged in "erudite and earnest work" during the reign of Jiajing (1521 - 1567). There seems to be no further information: book is lost? 4 lines
「明朱厚瑛選，見千頃唐書目。按厚瑛衡忝王之孫。新樂王載璽之從父。封高唐王，與齊東王厚炳皆以博學篤行聞嘉靖中，賜敕獎諭者再事蹟。附見《明史衡忝王傳》。」
3 lines
11 lines
Compiled by 汪浩然 Wang Haoran (Guangdong/Lingnan?); 6 lines
Compiled by 張鶚 Zhang E; 6 lines
** 與古齋考琴譜 Yuguzhai Examination of Qin Handbooks; title should be Xilutang Qintong; 2 lines
Compiled by 王圻 Wang Qi (see Sancai Tuhui Xuji); 4 lines
2 lines
Compiled by 孫柚 Sun You; 2 lines
Compiled by 張德潤 Zhang Derun; 6 lines (Qianqingtang Shumu calls it 張德潤琴譜 Zhang Derun Qinpu, saying he wrote a 九還操
Jiuhuan Cao)
Compiled by 張助 Zhang Zhu: see under Wugang Qinpu; Qianqingtang Shumu; 1 line
Compiled by 蕭鸞 Xiao Luan; see
Taiyin Buyi; 1 line
Author not known; 1 line
Author not known; 1 line
Author unknown, but see the melody Yi Sa Jin; 1 line
** 鄭蕃刊本 Printed book in collection of Zheng Fan; by 朱載堉
Zhu Zaiyu; 14 lines
Compiled by 袁均哲 Yuan Junzhe: one of the Taiyin Daquanji
** 四庫存目 Siku Cunmu (see
Siku Quanshu); a 1585 edition, by 楊表正
Yang Biaozheng (see
Chongxiu Zhenchuan Qinpu); 37 lines
**; 11 lines
**; one folio (?) of the Institute of Higher Learning Ritual Music Commentary (頖宮禮樂疏琴譜 Pan Gong Liyue Shu Qinpu, 10F)
Compiled by 李之藻 Li Zhizao; the commentary here largely follows that in the entry on Li; for "頖宮 Pan Gong" see Hucker 4428; Zha Guide not indexed; 5 lines.
Tablature like this from the book (downloaded from https://archive.org/) is actually found in about half of the folios: the song text goes along the top and with each word there seems to be 13 notes on the qin, some or all of them repeated, constantly repeating the same finger pattern. Some "court music" performances (re-creations?) are like this but I have not see descriptions of contemporary performance practice.
Compiled by 申維岱 Shen Weidai; 2 lines
Compare #193 below; here it says "compiled by 明周東岡 Zhou Donggang of the Ming dynasty" (!). This attribution is clearly a mistake. It gives as its source 與古齋考存琴譜 Yuguzhai Kaocun Qinpu though my edition (III/36) clearly says 張大命 Zhang Daming was the compiler. In addition, it also seems to be mistaken in saying #234 is a handbook by Zhou. 3 lines.
Compiled by 琴川琴社諸人 members of the Qinchuan Qin Society
(see "Qinchuan" under
Songxianguan Qinpu); 40 lines (mostly a preface by 嚴澂 Yan Cheng). Yan Cheng's handbook was apparently published after his death, so this might have been his original collection of tablatures.
**; by Yang Lun; 22 lines
**; by Yang Lun; 32 lines
**; edited by 林有麟 Lin Youlin; has a number of stories about qin (see Van Gulik, Lore, index, "Ch'ing-lian-fang-ch'in-ya")
Included in Siku Quanshu Cunmu Congshu, Vol. 子 74, pp.339-424; 7 lines
**; 15 lines
Listed in Tianyi Ge Book Index (Xuxiu Siku Quanshu, Vol. 920, p.141, under 子)
**; see #187 above, next, and
Yangchuntang Qinpu; 85 lines
Full titleYangchun Tang Qin Jing, compiled by Zhang Daming; part of previous (QQJC VII/330ff); 1 line
**; 5 lines
**; 24 lines plus 50 lines of prefaces (see also #188)
**; compiled by 嚴調御 Yan Diaoyu (concerns qin making?); 3 lines
**; 1 line
1 line
Compiled by 王世相 Wang Shixiang
Compiled by 舒敏 Shu Min, 1 line
Compiled by 米萬鍾 Mi Wanzhong; 1 line
Compiled by 夏樹芳 Xia Shufang; listed in Qianqingtang Shumu; 1 line
"Compiled by 徐琪 Xu Qi", same as name in Qianqingtang Shumu (has no other info), but elsewhere the name is 徐時琪
Xu Shiqi; 2 lines
"Compiled by 周履靖 Zhou Lüjing" (also listed in Qianqingtang Shumu; seems to be a revised version (the existing version?) of the above; 1 line
**; 張鯤 Zhang Kun
(this title comes from Qianqingtang Shumu; presumably it is the same as Fengxuan Xuanpin); 2 lines
Compiled by 吳金陵 Wu Jinling; a note says Wu was from 龍泉 Longquan but lived in Jinling [Nanjing], hence his name;
listed in Qianqingtang Shumu; 2 lines
Compiled by 田山雲 Tian Shanyun; 1 line
**; compiled by 屠隆字赤水 Tu Long, style name Chishui; 1 line (compare
Qin Fu)
** 趙希鵠 Zhao Xigu (13th c; Bio/1661); Zhou Qingyun mistakenly has "Ming"; 2 lines
TKW, Qin Fu, pp. 1692 - 5, has text, entitled 洞天琴錄集; mostly describes physical properties
Compiler unknown; listed in 內閣藏書目 Neigezang Shumu
Compiled by 張一亭 Zhang Yiting of 濟南 Jinan, 2 lines
明七閩孫丕題編見梅華庵琴譜考 (see comment), 1 line
明沈瑞徵 Shen Weizheng (Shen Weizhi?) style name 元圃 Yuanpu, from 海寧 Haining; mentioned in 杭州府志 Hangzhou Fu Zhi; 2 lines
周應鵬 style name 白於 Baiyu, from 海寧人; mentioned in 杭州府志 Hangzhou Fu Zhi; 2 lines
Sources don''t mention author. 名氏為明項元汴子京輯，蕉窗九錄之一。 4 lines
See 學海類編本 and 西泠印社活字本
Included in 葉盛，菉竹堂書目 Luzhutang Shumu of Ye Cheng; 2 lines
Writer unknown; see 菉竹堂書目 Luzhutang Shumu; 1 line
Writer unknown; see 菉竹堂書目 Luzhutang Shumu; 1 line
Writer unknown; see 菉竹堂書目 Luzhutang Shumu; 1 line
Writer unknown; see 菉竹堂書目 Luzhutang Shumu; 1 line
Writer unknown; ref: 錢謙益 Jiangyunlou Book Index (title only); 1 line
Writer unknown; ref: Jiangyunlou Book Index (title only); 1 line
Writer unknown; ref: Jiangyunlou Book Index (title only); 1 line
Writer unknown; ref: Jiangyunlou Book Index (title only); 1 line
Refers to 太音大全集 Taiyin Daquanji; 7 lines
Folio V
24 single lines plus 65 double lines (the prefaces)
朱繡 Zhu Xiu of 鳩江 Jiujiang; see 與古齋考存琴譜; 梅華庵參考琴譜 said 一卷
** 12 lines; ref. Siku Zhulu (in Siku Quanshu)
** By 莊臻鳳 Zhuang Zhenfeng; 4 single lines plus 12 double lines
Ref. Siku Quanshu but it is in
Siku Quanshu Cunmu Congshu as
Qinxue Xinsheng Xiepu
Essays only, no tablature
** 附刊本 Combined with previous, containing tablature for 14 melodies (ToC); 2 lines
** Again Zhuang Zhenfeng, goes with previous (2 lines)
By 陳太希 Chen Taixi; must be same as 陳大斌 Chen Dabin and his 太音希聲
Taiyin Xisheng (1 line)
** By 清周東岡 Zhou Donggang of the Qing dynasty (#187 above says he is Ming dynasty), 金谿人 from Jinxi/Jinqi; to this the entry adds only "see 琴苑心傳 Qinyuan Xinchuan" (next)=. In fact, the entry in Qinyuan Xinchuan probably says only that he wrote tablature, not actually a handbook (1 line)
** 孔興誘 Kong Xingyou (20 single lines, 12 double lines)
The edition of this handbook in QQJC
(XI/209-527) writes Kong's name both as 孔興爕 Kong Xingxie and 孔興誘 Kong Xingyou (7077.xxx for both). The Qinshi Xu "biography" has minimal personal information then a brief outline of the book. Here there is an outline for each of the first eight folios, then some comments on Folios 9-20, which have the music. The double lines are quotes from the prefaces in the handbook.
** 王坦 Wang Tan; 四庫著錄; see
Siku Quanshu and
Rao
** 胡世安 Hu Shian; 30073.7 from 井研 Jingyan, jinshi during 1628-44; see citation; 5 lines
QSCM quotes Tiyao in Siku Cunmu (see Siku Quanshu Cunmu Congshu, 子 74
** By 徐谼 Xu Hong (6 single lines; 56 double lines)
** Included at end of Dahuan'ge Qinpu, see in ToC; 2 lines
** Sources: Siku Quanshu Congmu Congshu and
Dahuan'ge Qinpu; compare
Leng Xian; 1 line
** 程允基 Cheng Yunji; 4 single lines, 31 double lines
** 聚錦堂刊本 5 single/11 doubled lines
Compiled by 程允基 Cheng Yunji. Included in Siku Quanshu Cunmu Congshu 子 75;
Same as the Chengyizhai Qintan in Chengyitang Qinpu (QQJC XIII/434-479; two folios).
** 程雄 Cheng Xiong; 8 lines
** 程雄 Cheng Xiong; 29 lines
** 程雄 Cheng Xiong; ref. 翠琅玕館本 (29376.125xx)
and 檀几叢書本 (15975.1: by 王晫
Wang Zhuo and 張潮 Zhang Chao); 14 lines
** 郭裕齋 Guo Yuzhai; 5 single lines plus 18 double lines
By 魯式如 Lu Shiru; compare Qinjing Shiyi in Qinxue Congshu; 1 line
** 雲志高 Yun Zhigao of 文昌 Wenchang; 7 single lines and 23 double lines
Attrib 徐常遇 Xu Xiangyu (see Xiangshantang Qinpu); 10 single lines and 22 double lines
By 惠士奇 Hui Shiqi, style name 仲儒 Zhongru, of Wu; 3 lines
Mentioned in 蘇州府志
By 伊裔 Yi Yi style name 蒿子 Haozi, mentioned in 與古齋考存琴譜注 which says 1690; 2 lines
By 沈琯 Shen Guan; 2 lines
By 徐祺 Xu Qi of Yangzhou; 6 single lines and 48 double lines
By 紹興魯鼐 Lu Nai of Shaoxing; listed in 與古齋考存琴譜 and 梅華庵琴譜參考 (2 lines)
By 馬兆辰 Ma Zhaochen; 6 lines
By 馬兆辰 Ma Zhaochen; together with previous; 8 lines
By 汪紱 Wang Fu; 7 single lines plus 6 double lines
長安王善 Wang Shan of 雲陵 Yunling (Chang An?); 16 single lines and 16 double lines
By 曹尚絅 Cao Shangjiong; 6 singlle lines and 30 double lines
By 江永 Jiang Yong; included in his 律呂新義五卷; 5 lines
曹庭棟 Cao Tingdong; 13 single lines and 15 double lines
Includes his 琴學內篇、外篇 Qinxue Nei/Wai Pian (see Siku Quanshu Cunmu Congshu)
By 何夢瑤 He Mengyao (bio under Cao Tingdong); 5 lines
粵雅堂刊本 printed by Yueyatang (27585.18 粵雅堂叢書20集)
By 李郊 Li Jiao of 溵州 Yinzhou; 4 single lines and 46 double lines
By 崔應階 Cui Yingjie; 江夏 Jiangxia in Hubei; 20 lines
Author unknown; listed in 與古齋考存琴譜注; 2 lines
By 錢塘 Qian Tang (sic., style name 學淵 Xueyuan, nickname 溉亭 Gaiting, from 嘉定 Jiading; 4 lines
By 江嗣珏 Jiang Sijue of 揚州 Yangzhou；"see 嘉慶揚州府志"; 1 line
Folio VI
By 清李崑 Li Kun, 字玉峯 style name Yufeng; listed in 與古齋考存琴譜; 2 lines
** 吳灴 Wu Hong; 7 single lines and 31 double lines
By 徐養源 Xu Yangyuan; source not clear; 6 lines
By 程瑤田 Cheng Yaotian; 27 lines
Part of his Tong Yi Lu (39739.367 通藝錄 42 folios), seen in a 單行活字本 (4061.74 單行本) single volume - typeset
Also by 程瑤田 Cheng Yaotian; 9 lines
And also part of his Tong Yi Lu
Again by 程瑤田 Cheng Yaotian; 6 single lines plus 16 double lines
And again part of his Tong Yi Lu
By 汪汲字葵田 Wang Ji, style name Kuitian, from 海陽 Haiyang; 1 line
Listed in 目睹書目 Mudu Shumu
By 周顯祖 Zhou Xianzu; 18 lines
By 楊承曾 Yang Chengceng from 武進 Wujin; mentioned in 武陽志; 1 line
By 沈浩 Shen Hao; 6 lines
過于飛 Guo Yufei, style name 振鷺 Chenlu, from 長洲 Changzhou; see 蘇州府志; 1 line
By 將文勳 Jiang Wenxun; 9 single lines and 12 double lines
By 邱之稑 Qiu Zhilu; compare Fengya Shiershi Pu; 12 lines
In 律音彙考 (= 律音彙攷 Lüyin Huikao)
By 戴長庚 Dai Changgeng; 2 lines
Hand copy, compiler unknown; 11 lines
吳泰來 Wu Tailai; 1 line
丁昭 Ding Zhao; 1 line
任兆麟 Ren Zhaolin; 1 line
孫長源 Sun Changyuan; 1 line
王蕃 Wang Fan; handcopy; 1 line
蔡能一 Cai Nengyi; 1 line
吳熙 Wu Xi; 1 line
陸瑹 Lu Tu; 2 lines
沈勲 Shen Xun (勳); 2 lines
譚學元 Tan Xueyuan; 1 line
王泉之 Wang Quanzhi; 1 line
趙履和 Zhao Lühe; 3 lines
李德騫 Li Dejian; 1 line
寧可大 Ning Keda ("Ning" is missing the bottom stroke); 1 line
徐伯齡 Xu Boling; 1 line
陳萊孝 Chen Laixiao; 1 line
** 咸豐五年刊本 1855 edition; 5 single lines plus 4 double lines
Includes 與古齋考琴譜 Yuguzhai Examination of Qin Handbooks
祝鳳喈 Zhu Fengjie
** By 張鶴 Zhang He; 9 single lines plus 17 double lines
** By 慶瑞 Qing Rui; 42 lines
By 沈道寛 Shen Daokuan; published during Guangxu reign; 2 lines
** By 秦維翰 Qin Weihan; 4 single and 10 double lines
** By 黃曉珊 Huang Xiaoshan; 2 single and 18 double lines
** By 唐彝銘 Tang Yiming; 5 single and 13 double lines
By 戴煦 Dai Xu; 6 lines
** By 劉人熙 Liu Renx; 9 lines
** By 釋空塵 Shi Kongchen; 8 single and 14 double lines
By 周贇 Zhou Yun; published in 1893; 2 single and 28 double lines
** By 陳世驥 Chen Shiji; handcopy; 16 lines
By 劉沃森 Liu Wusen (Liu Wosen) of 南海 Nanhai in Guangdong; published in 1996; 10 single and 48 double lines
By 鄒安鬯 Zou Anchang; 12 lines
** By 楊宗稷 Yang Zongji; now part of
Qinxue Congshu; 8 single and 13 double lines
** By 楊宗稷 Yang Zongji; now part of
Qinxue Congshu; 4 lines
** 甲寅刊本 1914 (!?) imprint; 7 lines
楊宗稷 Yang Zongji; now part of Qinxue Congshu
Author unknown; hand copy; 1 line
Author unknown; hand copy; 1 line
** Author unknown; hand copy; 3 lines
高玖 Gao Jiu (Ms.); 5 lines
** By 韓城女士妙孁 Ms. Miaoling of Hancheng; hand copy (in the Shanghai Library); 3 lines
** 心越 Shin-etsu (melodies he took to Japan in 1676?); hand copy; 9 lines
Footnotes (Shorthand references are explained on a
separate page)
1.
琴書存目 Qinshu Cunmu
My edition was copied from a book in the National Library, Taiwan.
(Return)
2.
周慶雲 Zhou Qingyun (1864 - 1933)
Zhou also wrote
Qin Shi Bu and
Qin Shi Xu
(Return)
3.
**: Books that Zhou apparently actually had seen
QSCM uses small characters under the entry title to indicate the sources/locations where he had seen them. The sources include:
There is a good introductions to this book collection plus its predecessors and successors in Wilkinson, Endymion: Chinese History, A Manual, p.273ff; the Wiki entry seems to take its information from there. As outlined by Wilkinson, p. 269, since ancient times book collections have been organized into four broad categories (四部 sibu; see 4782.488/3): 經 Classics, 史 Histories, 子 Philosophers, 集 Collections of Belles-Lettres. By the Tang dynasty the palace stored them in four separate repositories (四庫 siku; see 4782.20). Hence Siku Quanshu can be translated as The Complete Book Collection. The Kangxi emperor's attempt to form a complete collection resulted in 10,585 being catalogued (with commentary), of which 3,461 were selected for each of the seven libraries (Wilkinson, p.275).
These siku include only a few of the existing qin handbooks (fortunately now mostly republished in the modern
Qinqu Jicheng and so I have not had to use them extensively). However, as Siku Quanshu does have essential writings about qin, but the various modern editions can be rather bewildering, I have been making the following list to help me when I need to use them.
Modern editions and continuations of Siku Quanshu:
My materials also have references to the following, but I am not sure what they are:
Folio 100 has 18 titles (#16 seems to be missing), all dealing with music. Of these, the first six, all with "qin" in the title, are discussed here in QSCM:
Other Shuo Fu titles quoted on this site include
Reprinted several times, including with the title 欽定四庫全書 Qinding Siku Quanshu, this reproduces all of the 3,461 books originally selected for the seven imperial libraries, and seems to have become the standard version of the original Siku Quanshu. There are newly typeset editions of these, but the resulting searchable CD-ROM versions are not freely available online, and libraries usually do not make them available to the general public. Relevant entries from the four categories mentioned above include:
At the front of each entry in the Taiwan Shangwu Yinshuguan edition is a tiyao (commentary). Also accompanying this edition are 6 introductory volumes:
Vol. 220 has Qin Zhi by
Wang Tan
四庫大辭典 Siku da cidian, according to Wilkinson (p.262), has now "superceded" such catalogues and commentaries on Siku Quanshu. Edited by 李學勤 Li Xueqin and 呂文郁 Lü Wenyu, and published by 吉林大學 Jilin University, 1996, this new work is not to be confused with the difficult 1935 edition by 楊家駱 Yang Jialuo.
List of titles and authors
Editions of these commentaries (annotated catalogues) of Siku Quanshu may also be called 四庫全書總目 Siku Quanshu Zongmu or simply 四庫提要 Siku Tiyao or 四庫總目 Siku Zongmu. The commentaries may be published together with the texts themselves, collected separately or, as with Wenyuange Siku Quanshu, both: see, for example, the comments with
Chenshi Yue Shu. Chinese private libraries have existed since at least the Han dynasty, and catalogues listing their contents have sometimes included commentary (some such catalogues of that included books connected to qin are listed below).
Addenda to the previous; ToC at front of 1; author index at end of 15
Published in 1990s and divided as 1 首, 220 經, 292 史, 261 子, 426 集, this "photo-facsimile collection" contains "all the works not included in the library (Wenyuan Ge?), but listed by title in the catalog (cunmu 存目)...reprinted from the best available editions in reduced size" (Wilkinson, p.275; Wilkinson adds that this means it has 6,793 titles, but this does not tally with his earlier statement that Siku Quanshu included 3,461 of the 10,585 originally catalogued: shouldn't this collection have 7,124 books?). Relevant entries from the four categories mentioned above include:
Supplement to Siku Quanshu Existing Titles (previous entry)
Published in the 1990s, this Continuation of Siku Quanshu "completes" it by printing "33,000 works" comprising "not only all those titles left out, but also newly discovered, or written between the eighteenth century and 1911" (Wilkinson, p.275; see also a data base). Relevant entries from the four categories mentioned above include:
Also excluded editions; compare 四庫禁書 Siku Jinshu
(Wiki). Divided as follows:
索引 1 (indices to the 移本)
北京出版社 Beijing chuban she, 2000
Includes Ruan Yuan essay
Short for 四庫全書存目叢書 Siku Quanshu Cunmu Congshu?
Often mentioned in Qinshu Bielu.
A separate 1991 publication of books from the Yishu section of Siku Congshu. Includes qinpu by
He Su.
18531.284 - .289 are all Han Wei collections, but they do not include this title
21296.181, by 馬國翰 Ma Guohan (1794 - 1857): 681 種 types in 120 冊 vols.; lists contents of 1 - 95;
Most of this collection still exists. Vol. 40 (樂類 Music Category) has 15 titles; #5 and #10 are missing
Those referenced on this site include
#8. Gujin Yuelu
#12. Qin Li
#15. Qin Shu
36404.81 has a complete table of contents for this book collection compiled by 陶宗儀 Tao Zongyi (1316 - ?; Bio/2055): 120 folios, 續本 Continuation, 44 folios. Most of this collection still exists.
#2. Yaqin Minglu
#3. Qinsheng Jingwei
#4. Qinjian Tushi
#5. Zashu Qinshi
#6. Gu Qin Shu
4.
Book title listings
Large book collections often had catalogues (書目 shumu) listing the titles, perhaps with authors' names and some description, but often only the title and perhaps the name of the author/compiler. Book catalogues mentioned here include:
5. For most entries I have at present only included the title, author, location if indicated, and the number of lines in the entry.
Another useful bibliographical reference for this subject is:
Appendix
The original text is not with the QSCM entry, but is included in Van Gulik, Lore, together with Van Gulik's translation, pp.73-6. Here, VG's "lute" has here been changed to "qin".
Return to QSCM entry
Huang Youdi, Zhongguo Yinyue Xixiang Pipan; Hong Kong, 1965
(Return)
吳澄，琴言十則
Wu Cheng: 10 Rules, from Qin Talk
When laying the qin on the table one should see that it sticks out on the right side a hand's breadth, so that one may easily turn the tuning pegs. If one seats oneself exactly opposite the fifth stud, then one can freely execute all the movements of the left and right hand.
The right hand when attacking the strings should not go farther to the left than the fourth stud; when one attacks the strings near the bridge, the tones produced will be true. The finger technique should not be floating, nor should it be heavy and confused. The right hand should touch the strings lightly, but the left hand should press them down firmly.
When one plays the qin, regardless of whether there are other people present or not, one must always behave as if one were in the presence of a superior. The body should be erect and straight, the spirit should be clear, the mind at rest, the look concentrated, the thoughts serene. Then the touch of the fingers naturally is correct, and the strings emit no wrong sounds.
When producing sounds one should aim at simplicity, and also at naturalness. Its wonderfulness lies in the correct shifting over from the light touch to the heavy, and in applying correctly ritardando and accelerando. When the finger technique is applied clumsily and wrongly, the measure is not rigidly observed, and when one is striving after specious effects, the melody is spoilt and confused. These are all deficiencies, which should fundamentally be corrected.
The basis of the qin consists in simplicity and serenity. Therefore one should not try to add extra sounds, but rigidly observe the indications for the finger technique; then one shall get a solemn, controlled style of playing, worthy to be seen. If one does not take care in attacking the strings to discriminate between flesh sounds and nail sounds, if the various movements are not linked up correctly, and if, moreover, while executing the attack with the thumb, the chords, and the upward and downward harpeggio, the hand and arm are stiff and not correctly adjusted, then one has not yet achieved the wonderful finger technique.
The quality of the qin tends to loftiness. Therefore, if while playing one changes one's mien and allows the eyes to wander, or worse, if the body is stooping, the feet put one atop the other, the head shaking , and the shoulders moving up and down,then an atmosphere of unelegance is created. Knowing these deficiencies one should correct them. Moreover, when the sentiments are not elated, all kings of flaws and shortcomings arise, and one had better give up the qin altogether.
When the ancients composed tunes for the qin, they sometimes aimed at expressing leisurely and satisfied feelings, but sometimes they wished to express their melancholy. Therefore one must understand the meaning of a tune. If one just plays the music as it is written, one will not be able to express the sentiments of the composer. And how then shall the mood of the ancients be found in the wood and the silk?
In studying the qin, getting down to the essence is the most important. If one tries to learn too much [at one time], how then shall one be able to grasp the essence? Therefore, if one has succeeded in getting an eminent Master to teach some tunes, one should play these same tunes through again and again, lest one forget the significance inherent in them. Moreover, wonderful music arises from constant practice. This is what is meant by the saying that only by incessant application can one derive satisfaction from the strings. If not, then because one studies too many different tunes, the shortcomings shall be many, and it shall be as if thorns grew on one's fingers.
The saying 'Rigidly observe the rites by respecting the Way' means, when applied to qin playing, not to play when there is wind or rain, or in a common atmosphere. But if one meets someone who understands the deeper meaning of music, or having ascended a storied building, or a mountain, if one rests in a valley, sits on a rock, or tarries by a stream, or when the two principles are in harmony, then all these conditions are to be called excellent and suited for the qin. On the contrary, the presence of a vulgar man, a courtesan, an actor, a drunken and noisy atmosphere, these all are bad conditions for playing the qin. Therefore one should be discreet in chooosing the time and place to play the qin.
Playing the qin is meant for nurturing one's nature, therefore one should not aim at acquiring fame by it. If one meets a kindred spirit, then one should play; if not, then one had better put the qin in its cover, and reserve it for one's own enjoyment. If one plays the qin before people who do not like it, or before disorderly and vulgar persons who boast of their qualities, how can one not be ashamed? In such a case one cannot but hastily conceal the fact that one plays the qin.
Return to the annotated handbook list
or to the Guqin ToC.