San Dai

The article mentions the transmission of 三調遊弦廣陵止息, presumably San Diao (10.1618), You Xian (39841.xxx) and Guangling Zhixi (compare Guangling San).

The original articles in Qin Shi are indented.

Dai Kui

Dai Kui was the most famous of the Dai discussed here. He was a good painter and calligrapher. QSCM #19 is a 琴譜四卷 Qin Pu which has been attributed by some to Dai Kui.

Van Gulik, Lore, pp.158, translates a similar story to the one told here. There the instrument Dai Kui is playing is called 黑鶴 Black Crane. Van Gulik mentions a contrasting story,⁹ in which Ruan Zhan will play for anyone. The author of that story prefers Ruan Zhan's attitude.

Dai Kui, style name Andao, was a recluse who in those days used qin and calligraphy to entertain himself. Hearing of Dai Kui's skill at qin 武陵王晞 Xi, prince of Wuling, sent an emissary to summon Dai Kui. In front of the emissary Dai Kui broke his qin and said, Dai Andao cannot be summonsed to the gate of a Prince. Xi was angry, so he summoned Dai Kui's older brother Dai Shu. But when Dai Shu heard of this he took his qin and ran away. Dai Kui later went to live in 剡縣 Yan district of Kuaiji....

See also the story of Wang Huizhi coming to visit Dai Kui on a snowy evening (Ziyou Fang Dai).

Dai Shu

Dai Shu (11963.79xxx 戴述)

(When Dai Shu heard of [the above] he took his qin and ran away.)
Dai Bo

Dai Bo (11963.75 戴勃), oldest son of Dai Kui

Dai Bo, Dai Kui's oldest son, had his father's spirit. Skilled at qin, after his father died he could not bear to play any more 乃造新弄 so he made new melodies (things ?).... Traveled together with his brother Dai Yong...
Dai Yong 戴顒

Dai Yong, the second son, also played music....

Further details in preparation. 10

Footnotes (Shorthand references are explained on a separate page)

1. #93, 三戴 (Return)

2. 25 lines (Return)

3. The left image, from Wenhuitang Qinpu (1596), can be found in QQJC VI, p. 144. (Return)

4. The right image, 斲琴 Breaking a Qin by 仙崖義梵 Sengai Gibon (1750-1837), is from the 竹聲 Chikusei Collection (see Stephen Addiss, ed., The Resonance of the Qin in East Asian Art; New York, The China Institute, 1999; pp. 114-5). (Compare Boya with axe.) (Return)

5. Dai Kui 戴逵 (d.395 CE)
11963.134, style name 安道 Andao, was perhaps the most famous recluse of his day.
(Return)

6. Dai Shu 戴述
11963.79xxx )
(Return)

7. Dai Bo 戴勃
11963.75; oldest son of Dai Kui, he had his father's spirit. Skilled at qin, after his father died he could not bear to play any more 乃造新弄 so he made new melodies (things ?).... Traveled together with his brother Dai Yong.
(Return)

8. Dai Yong 戴顒
11963.206/1; younger brother of Dai Bo, style name 仲若 Zhongruo, he had a respected name. At first he was a recluse with Dai Bo in 桐廬 Tonglu and was also a skilled qin player. After Dai Bo died, because Tonglu was lonely and remote he went traveling in 吳 Wu. Here the local scholars made for him a place to live surrounded by rocks, tall trees and flowing water. Here he gave instruction on Zhuangzi and wrote essays.) Xu Jian gives him as an example of someone who changes the name of a melody to make it more refined (see the footnote to Yi Zhen). (Return)

9. In 古琴疏 Gu Qin Shu by 虞汝明 Yu Ruming. (Return)

10. (Return)

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