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1425 Melody; video; Images: 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 | 首頁 |
Imperial images: Wild Geese in Autumn | 秋鴻圖譜冊 1 |
The 36 images are arranged into four books2 |
The introduction in Zithers of the Forbidden City quotes the comment under the melody title Qiu Hong (see (image one) that states that this is the tablature of Guo Chuwang (a well-known late Song dynasty qin master) as edited by his disciple Xu Tianmin and Xu's descendant Xu Xiaoshan. The introduction then quotes Xu Jian's Qinshi Chubian, Chapter 7A, in suggesting that Xu Xiaoshan may have given the tablature to Zhu Di at his feudatory court (fandi; does this mean it was in Nanjing before as Yongle, i.e., emperor Chengzu, 1403-1425, he moved the capital to Beijing?). It also suggests that the painting may have been done by an artist called Zhu Fu,4 who lived at that time and is known to have done a painting on a related theme.
The original publication apparently has only tablature and illustrations, no commentary other than the musical attribution under the general title with the first image, mentioned above. It is thus unfortunate that the modern introduction does not discuss some important aspects. Some issues that need further study include:
The books have the seal of the 乾隆 Qianlong emperor (r. 1736-96), but this simply means he owned them.
Footnotes (Shorthand references are explained on a
separate page)
1.
Qiu Hong illustrated tablature (秋鴻圖譜冊)
I have seen a facsimile edition of this, but references here are to the version that comprises Section 3 of 故宮古琴圖典 Zithers of the Forbidden City. In addition to images of qin and associated materials from the collection of the 故宮博物院藏 Museum of the Forbidden City, the book has reprinted the tablature and paintings for Qiu Hong.
The introduction on page 198 of Zithers of the Forbidden City says:
明宮舊藏浙派徐門所傳古琴曲《秋鴻》圖譜冊,圖先譜後,為繪圖與曲譜的合裝本。共分四冊,冊面裝五色仿宋錦,素絹簽,題楷書“琴譜”二字,並分別注序號為“平”、“沙”、“落”、“雁”四字於其下。因其為琴譜故未收入《石渠寶笈》之中。琴曲為紙本楷書,每段一開並有標題,圖為絹本水墨工筆畫,亦每段一開皆按標題內容繪制,無作者名款。每冊封面後一開與最後一開上方鈐“乾隆御覽之寶”大印。
第一開為“清商調”和“夾鐘清商意”兩首練習曲,第二開為序曲“飛冥吟”,其下進入“秋鴻”主題,圖先譜後依次排列,自“渡江”開始“聲斷楚雲”止,共36段。在主題“秋鴻”二字下,有兩行小字注明:“妙品夾鐘清商曲,世謂清商楚望譜,瓢翁、曉山翁累刪。”表明譜經二人刪節。按“瓢翁”乃南宋浙派名古琴家徐天民別號,其孫徐夢吉號曉山,夢吉子徐和仲,世為浙派大家。徐和仲系洪武元年“文華堂”名琴家之一。據《琴史初編》載:“明成祖朱棣在藩邸時,曾召見徐和仲,並給以賞賜。”此譜或系徐和仲當時所進,因此宮中藏有此譜。
本圖譜前端的兩首序曲為浙派徐門琴譜的特點,圖譜中的兩行小字注疑似徐和仲之所為。圖畫結合的琴譜僅此一件,據《明畫錄》稱:明初浙派畫家朱芾畫“蘆洲聚雁,極瀟湘煙水之致”。本圖是否為其所作,有待進一步的研究。
《秋鴻》一曲被明清許多古琴譜所收錄,雖起止基本相同,但一般從“飛冥吟”開始,沒有“清商調”與“夾鐘清商意”兩小曲,且中間各段次序多不一致。本圖譜與明初朱權的《神奇秘譜》和黃獻的《梧岡琴譜》相較,曲目順序也各有不同。明宮所遺的這部琴譜系原舊裝裱,冊頁未有重裝現象。因此,可信這部圖譜應為浙派徐門的傳譜,且圖譜早於《神奇秘譜》。那麼《秋鴻》一曲之作者確非朱權,實為南宋郭楚望可以明矣。
Translation not yet completed.
2.
Four Books/Folios
Not having seen the original document, I do not know how difficult it would have been for these sections to get so out of order. There also seems to be no mention of this with the original modern commentary, nor any comment on whether it is possible that any of the illustrations (which seem to be untitled) got detached from their intended section titles. (Here I have placed the tablature page directly below the illustration, but in the original the arrangement apparently placed each tablature after its related illustration.)
As arranged in Zithers of the Forbidden City the Qiu Hong tablature is as follows:
199:「平」Cover of Folio "Ping"
209:「沙」 Cover of Folio "Sha"
219: 「落」Cover of Folio "Luo"
230:「雁」 Cover of Folio "Yan"
Since Zithers of the Forbidden City does not discuss the discrepancies, further work on this needs to be done.
3.
Zithers of the Forbidden City
4.
朱芾 Zhu Fu
5.
Pairing the tablature and images
Return to Art Illustrating Guqin Melodies
明 /縱41.4厘米,橫71.9厘米
圖絹本/縱24.3厘米,橫62 厘米
譜紙本/縱19.3厘米,橫58.1厘米。
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The four folios are entitled, in order, 平 Ping, 沙 Sha, 落 Luo and 雁 Yan. However, as mentioned
above, many of the 36 individual sections are out of order when compared to the titles and tablature in Shen Qi Mi Pu and other early handbooks. Bringing them into the correct order is a four step process (see the content list below):
- This video pans the 36 images, pairing them with
the music from the 36 Sections in 1425.
- Meanhile the list below also shows the correct section number according to
SQMP
198: 古琴曲「秋鴻」圖譜冊 Introduction to the guqin melody Qiu Hong, as above
200:「清商調」、「夾鍾清商意」、「飛冥吟」Tablature for two modal preludes and Fei Ming Yin (q.v.)
201: 渡江 Du Jiang (1; SQMP 1), tu pu (i.e., illustration [tu] and tablature [pu])
202: 賓秋 Bin Qiu (2; SQMP 2), tu pu
203: 依渚 Yi Zhu (3; SQMP 3), tu pu
204: 呼群 Hu Qun (4; SQMP 4), tu pu
205: 呼蘆 Hu Lu (5; SQMP 5), tu pu
206: 悲秋 Bei Qiu (6; SQMP 6), tu pu
207: 聚沙 Ju Sha (7; SQMP 7), tu pu
208: 宿蘆 Su Lu (8; SQMP 9), tu pu (in SQMP the title for this music is that of palace edition p. 221)
210: 爭蘆 Zheng Lu (9; SQMP 19), tu pu
211: 出渚 Chu Zhu (10; SQMP 20), tu pu
212: 引群出塞 Yin Qun Chu Sai (11; SQMP 21), tu pu
213: 列序 Lie Xu (12; SQMP 23), tu pu
214: 一舉萬里 Yi Ju Wan Li (13; SQMP 22), tu pu
215: 㗸蘆 Xian Lu (14; SQMP 24), tu pu (㗸 = 啣)
216: 打圍 Da Wei (15; SQMP 25), tu pu
217: 清同友愛 Qing Tong You Ai (16; SQMP 26), tu pu
218: 雲中孤影 Yun Zhong Gu Ying (17; SQMP 27), tu pu
220: 南思洞庭 Nan Si Dongting Shui (18; SQMP 8), tu pu
221: 北望鴈門關 Bei Wang Yanmen Guan (19; should be
SQMP 10, but tablature, though beginning and ending like SQMP 9, is new), tu pu
222: 顧影 Gu Ying (20; SQMP 11), tu pu
223: 入雲 Ru Yun (21; SQMP 12), tu pu
224: 破陣 Po Zhen (22; SQMP 13), tu pu
225: 書空 Shu Kong (23; SQMP 14), tu pu
226: 雁落平沙 Yuan Luo Pingsha (24; SQMP 15), tu pu
227: 叫月 Jiao Yue (25; SQMP 16), tu pu
228: 延頸 Yan Jing (26; SQMP 17), tu pu
229: 報更 Bao Geng (27; SQMP 18), tu pu
231: 問訊衡陽 Wen Xun Hengyang (28; SQMP 28), tu pu
232: 傳書 Chuan Shu (29; SQMP 29), tu pu
233: 避弋 Bi Yi (30; SQMP 30), tu pu
234: 驚寒 Jing Han (31; SQMP 31), tu pu
235: 懷北 Huai Bei (32; SQMP 32), tu pu
236: 引陣 Yin Zhen (33; SQMP 33), tu pu
237: 入塞 Ru Sai (34; SQMP 34), tu pu
238: 天衢遠舉 Tian Qu Yuan Ju (35; SQMP 35), tu pu
239: 聲斷楚雲 Sheng Duan Chu Yun (36; SQMP 36), tu pu
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Subtitle: Classics of the Forbidden City; pp.198-239.
(Return)
朱芾 Bio/541 says Zhu Fu was active during the reign of the first Ming emperor. The above commentary in Zithers of the Forbidden City mentions a painting attributed to him entitled "蘆洲聚雁,極瀟湘煙水之致 Lu zhou ju yan, ji Xiao Xiang yanshui zhi zhi.
(Return)
This is a particularly important issue in light of the apparent page mix up described above. In addition, my own impression is that some of the tablature and images could be changed, e.g., exchanging the images attached to sections 1 and 2 (q.v.).
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