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五音琴譜 Wuyin Qinpu (1579)     ToC 首頁
Contemplative Intonation
Shang Mode:2 1 2 4 5 6 1 2
 		 靜觀吟 1
Jing Guan Yin
The poem by Chengzi 3    
This short instrumental melody, usually in three sections, was once very popular. There is no commentary with this 1579 version, but its third surviving publication (1609) connects the melody to the Song dynasty Confucian scholar Cheng Hao (referred to only as Chengzi).4 Specifically it quotes a couplet from a poem attributed to Cheng Hao, as follows:5

All things in a contemplative manner attain what they need;
In all seasons their beauty flourishes, just as with people.

In other words, people can achieve what they need simply by having the same contemplative manner that one finds throughout nature.

Starting with 1722 Jing Guan Yin is more commonly associated with the Tang dynasty scholar Li Mian.6 However, this does not significantly alter the commentators' understanding of the mood of this piece. In the 1722 introduction the mood is described as follows:7

All the phrases are beautiful in their soft purity. The second section (in harmonics) has the sound of discussing a life of leisure combined with the flavor of quietude. Although the melody is short its meaning is grand. Play it on a quiet evening and it will itself point out how to achieve this.

Meanwhile, the introduction to a recording by Xia Yifeng of this melody says as follows:8

The legend goes that this piece of music was composed by Li Mian of the Tang dynasty. The music illustrates that one will naturally identify the essence of things by observing them calmly and objectively. This small piece, tranquil and simple, expresses the artistic conception of "observing calmly".

Jing Guan Yin was once very popular, in particular during the Qing dynasty.9 After the earliest surviving publication here in 1579, it can then be found in at least five more Ming dynasty handbooks, then 29 from the Qing dynasty, the last dated 1899.

The fourth surviving publication of Jing Guan Yin comes from Songxianguan Qinpu (1614), the earliest handbook of the very popular Yushan school, and this probably helps account for its later popularity.10 Later versions seem largely to be elaborations of 1614, adding mostly ornamentation. At least two silk string recordings have been made: in addition to the one by Xia Yifeng (#9), mentioned above, there is also one by Wang Duo (#2).11

 
Original preface 12
None here

 
Music (Shang mode)
Three Sections, untitled13

 
Footnotes (Shorthand references are explained on a separate page)

1. Jing Guan Yin (靜觀吟; Qinqu Jicheng, Vol. IV/205)
Also written Jingguan Yin; alternative translations include "Meditation in Stillness" and "Observing Calmly". 43533.322 only 靜觀 jing guan. Three references are given:

王維 Wang Wei poem 酬諸公見遇詩
白居易 Bai Juyi poem 自題寫真詩
程顥 Cheng Hao (see below) poem 秋日詩, same as below.
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2. Shang mode (商調 Shang Diao)
In this melody the tonal center is do (gong; open first string), but a strong secondary tonal center is re (shang): many phrases end on shang, and hearing such endings prepares one for following phrases ending on gong. For further information on shang mode see Shenpin Shang Yi and Modality in Early Ming Qin Tablature.
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3. Image
This calligraphy, by 劉嘉雄 Liu Jiasong, was found on the Taiwan website http://www.jwt.url.tw/bus1-ruuchasyau.htm. It consists of Liu's calligraphy for the complete text of the Cheng Hao poem quoted below.
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4. 程顥 Cheng Hao and 程子 Chengzi
As discussed under the melodies Ming De Yin and Kongsheng Jing, 子程子 Zi Chengzi refers there to the brothers 程顥 Cheng Hao (1032-1085; Wiki) and 程頤 Cheng Yi (Wiki). With Jing Guan Yin it seems that the reference is only to Cheng Hao, as the poem quoted below has been attributed to him.

Further on 程子 Chengzi
There was also an ancient philosopher of this name, but the references with the qin melody Jing Guan Yin do not seem to be to him. As for him, Bio/2308 程本 Cheng Ben says this is another name for 子華子 Zi Huazi, adding that he was a man of great learning and that, "Confucius, meeting him at 郯 Tan, called him 天下賢士 the most worthy of persons." According to 7072.534 子華子 Zi Huazi was actually a book also referred to as the "Cheng Volume" (Cheng ben), adding that it was known as the Cheng Ben in Kongzi Jiayu, while it was known as Zihuazi in Liezi (? Huazi is in Liezi Book 3/7 周穆王 King Mu of Zhou). The book had apparently disappeared by the Han dynasty. When it was "re-created" during the Song the author was said to be Chengzi. Zihuazi (the philosopher Huazi) is also mentioned in Zhuangzi, e.g., Chapter 28 讓王 Yielding kingship.
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5. Lines from the poem 秋日偶成 Chance Creation of an Autumn Day, by 程顥 Cheng Hao
The original text of the entire poem is as follows (see also the calligraphy);

閑來無事不從容，睡覺東窗日已紅；
萬物靜觀皆自得，四時佳興與人同。
道通天地有形外，思入風雲變態中；
富貴不淫貧賤樂，男兒到此是豪雄。

Translation (compare another)

Leisure brings no worldly affairs and I am calm;
  Though asleep I am aware that in the east window the sun is aleady red.
All things in a contemplative manner attain what they need;
  In all seasons their beauty flourishes, just as with people.
The Dao fills the universe without having shape;
  My thoughts enter wind and clouds and assume their forms.
Wealth and honor are not a matter of lust, poverty, disdain or pleasure;
  Men who arrive at this point are the truly heroic.

The melody preface quoted only the second couplet (note difference in translation). However, the complete poem is set to music in the unrelated qin song Ou Cheng, preserved in Japan.
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6. Li Mian 李勉
See separate entry
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7. Quote from 1722
The original Chinese is:
    句句有潔潤之妙；二段（泛音）有言談活逸之聲，而兼和靜之趣。曲小意大，靜夜鼓之，則有自得之旨也。
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8. Recording of Jing Guan Yin by 夏一峰 Xia Yifeng
The note to this recording (#9) says only that it comes from a 抄本 handcopy, but the actual music is almost the same as in 1722 and 1868. There is a transcription of Xia Yifeng's performance in Guqinqu Huibian.
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9. Tracing Jingguan Yin
Zha Fuxi's Guide 25/210/-- lists it in 35 handbooks from the present one to 1899, none has lyrics. The first 10 are as follows:

  1. 1579 (IV/205; see above; opens at 13.1 on 1st string)
  2. 1590 (V/476; like 1579 [but adds open 1st string at front]; only version entitled 靜觀音, also pronounced Jing Guan Yin: "Sounds of Contemplation")
  3. 1609 (VII/186; somewhat different; has preface; opens as 1579)
  4. 1614 (VIII/99; begins with open 4th string; earliest Yushan school handbook)
  5. 1634 (IX/303; opens as 1579)
  6. late Ming (IX/418; opens as 1579)
  7. 1647 (X/91; opens as 1614)
  8. 1660 #7 (XI/23; no image; opens as 1579)
  9. 1670 (XI/350; 2nd handbook with commentary: preface similar to 1579 but shorter; opens as 1614)
  10. 1673 (X/359; opens as 1614)
Based mainly on looking at the opening phrase, it seems that early versions developed either from the 1579 or the 1614 handbooks. Within the melodies there are considerable similarities, though the variations available support assertions that this became quite a popular melody, in particular after 1614.
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10. Later popularity of Jing Guan Yin
I have not carefully searched the later handbooks, but have noted that #31 on the list, dated 1868, is very similar to #15, dated 1722.
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11. Recording of Jing Guan Yin by 汪鐸 Wang Duo
In addition to his CD recording, mentioned above, a performance by Wang Duo of Jing Guan Yin has also been posted on YouTube.
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12. Original preface
See comments in the text above.
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13. Music
I have not yet reconstructed the 1579 version.
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Return to the annotated handbook list or to the Guqin ToC.