Song Gaozong
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Song Gaozong
- Qin Shi Xu #2
宋高宗 1
琴史續 #2 2

Song emperor Gaozong (r. 1127 - 1163) was 趙構 Zhao Gou (1107 - 1187), style name 德基 Deji, the ninth son of Emperor Huizong. His activities related to the qin are discussed in Qinshi Chubian, Chapter 6, Part A5.

Gaozong was the first emperor of the Southern Song, with his capital in Hangzhou. He gained some measure of peace with the Jin to the north only after he signed a treaty in 1141 under which he sent annual tribute to the Jin.

At present there is no further information on the qin teacher 黃震 Huang Zhen (Bio/2073 has different people of this name).

The story of Gaozong presenting 洪皓 Hong Hao (17757.154 important official; see Giles) with a qin made from a shield comes from ?.

Inner Chamber Tablature (閣譜 Ge Pu) is discussed in Qinshi Chubian, Folio 6a. As yet I do not have much further information on Upriver Tablature (江西譜 Jiang Xi Pu), the Great Brightness Music Bureau (大晟樂府 Dasheng Yuefu) and the reforming of old tablature (修明舊譜 old tablature).

The original essay in Qin Shi Xu says the following:

Gaozong, personal name 構 Gou, style name Deji, was the ninth son of Huizong. At first he was 康王 Prince Kang. In the fifth month of 1127 he became emperor in 南京 the southern capital (i.e., Hangzhou). At first the empire was in bad shape, but he didn't forget about the elegant qin. He ordered qin teachers such as 黃震 Huang Zhen to come before his presence in the imperial palace. He was also able to come up with new ideas for making qins. In 1145 he presented 洪皓 Hong Hao with a qin made from a shield. The emperor himself inscribed it for his minister, saying, "The qins of the ancients were made differently. Everything has its connections. I have made this qin in the shape of a shield to show I have not forgotten the idea of military preparation, and still have the objective of restoring the country." From Song Gaozong on, qin play was dominated by two types: Inner Chamber Tablature and 江西譜 Upriver Tablature, until the 大晟樂府 Great Brightness Music Bureau decided that the Parlor Style was the most valuable. After this (Upriver Tablature) gradually diminished. After 1131 修明舊譜 old tablature was being brought to light. Anyone who played the qin but didn't look into the Chamber volumes could not gain an audience with the emperor. The so-called Upriver style became an elaboration of the Chamber style.

More to be added.

Footnotes (Shorthand references are explained on a separate page)

1. Giles, Chao Kou; etc.

Sources for the article in Qin Shi Xu are given as:

  1. 宋史 Song Shi;
  2. 四湖聞見錄 Sihu Wenjian Lu [];
  3. 玉海 Yu Hai [21296.328 Song];
  4. 清容集琴述 Qingrongji Qinshu [18003.299 清容居士集五十卷, by 袁桷 Yuan Jue, 1266 - 1327].)



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