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SMQP   ToC   /   High Mountains (Gao Shan)   /   For more images: Bo Ya

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06: Flowing Streams - Gong mode, standard tuning: 5 6 1 2 3 5 6 2

流水 1 Liu Shui Flowing Stream under a Small Bridge 3

According to Xunzi, Confucius said,

Such associations certainly enriched literati appreciation of the melody Flowing Streams. However, traditional commentary within actual guqin literature always connects High Mountains Flowing Streams (Gao Shan Liu Shui⁵) with a story in which the famous qin player of antiquity Boya (also commonly Romanized Bo Ya) evokes nature with his qin play, but only Ziqi (also Zi Qi or Zhong Ziqi) is able to recognize this; after Ziqi dies, Boya never plays again. In Shen Qi Mi Pu this story is related in the preface to Gao Shan. The present website's commentary under Gao Shan also discusses several versions of this story, and it includes most of the commentary that can be applied to the music of both Gao Shan and Liu Shui.

The biography of Bo Ya mentions other melodies also associated with Bo Ya. Of note here is the ancient mention of Sanxia Liu Quan⁶ (Flowing Springs in the Three Gorges); it might relate a similar story.

As for the music specifically of Liu Shui, versions survive in 33 handbooks between 1425 and 1946;⁷ in fact, Liu Shui is the only piece from Shen Qi Mi Pu Folio 1 to have survived actively in a recognizable form into the modern repertoire.⁸ However, only the versions in two other handbooks (1539 and 1552 - see comments with Gao Shan) follow closely the one in SQMP. The others are rather similar in what are called here the first four sections (particularly the harmonics), but they then become almost completely different. They all seem descended from a different version.

Like Gao Shan, the Liu Shui in SQMP also had no punctuation, so again my reconstruction uses the phrasing from the identical version in Fengxuan Xuanpin (1539). And also as with Gao Shan, Liu Shui was not divided into sections; sectioning here is based in part on the sectioning of the version in Xilutang Qintong (1549).

It should be noted that the SQMP version of Liu Shui is considerably longer than the other surviving early versions. In my transcription I have divided it into what seem to me to be 16 natural sections. Ten of the titles I have used are the ten Xilutang Qintong (1549) sections, here applied to sections that seem best to correspond well with the Shen Qi Mi Pu music; two titles are phrases from Zhu Quan's preface to the melody; the other four titles come from the version in Chongxiu Zhenchuan Qinpu (1585).

There are at least 25 recordings available of Liu Shui but besides my own the only other ones based on the version in SQMP are those by Yao Bingyan and his son, Yao Gongbai.⁹ Both use metal strings. The one by Yao Bingyan is transcribed by Bell Yung in Celestial Airs of Antiquity.

The version of Liu Shui commonly played today is the "72 gunfu Liu Shui"¹⁰ attributed to Zhang Kongshan¹¹ of the Sichuan school. It has been said that these gunfu (harp-like glissandi) are appropriate to the lofty mountains of Sichuan, whereas this older version is perhaps more descriptive of streams in the lower mountains of eastern China.¹²

 
Original Preface¹³
Zhu Quan's preface to #05 Gao Shan serves for both melodies.

 
Music
Undivided; here arranged into 16 sections; titles are from
Xilutang Qintong (X), Chongxiu Zhenchuan Qinpu (C), and Zhu Quan's preface (ZP); timings follow my recording 錄音 ¹⁴

(00.00) 01. The long stream stretches out like a ribbon (X1)
(00.37) 02. A qin resounds by the hidden mountain stream (X2)
(01.09) 03. Directing the pulses (a Daoist exercise) leads to a long life (X3)
(01.40) 04. Floating clouds knock together (X5)
(02.24) 05. The wind causes ripples in the water (X6)
(02.58) 06. Look at the Big Dipper while traveling on an immortal's log (X7)¹⁵
(03.35) 07. Spring water gurgles up (X4)
(04.09) 08. Bubbling eastward (C7)
(04.30) 09. Rivers return down to the sea (related to 9; has harm. ; C5)
(04.57) 10. (The qin evokes) the vastness of the waters (resembles 15; ZP)
(05.17) 11. Rowing hurriedly through the mist (fast; X8)
(06.01) 12. (The river flows) eternally (freely; C6)
(06.39) 13. Mist above a clear river (slower; C4)
(07.24) 14. People of wisdom enjoy the waters (ZP)
(07.53) 15. The cinnabar door is thick (with lacquer? X9) ¹⁶
(08.10) 16. The spirit is like deep, dark waters (X10) ¹⁷
(08.48) --- Piece ends

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Footnotes (Shorthand references are explained on a separate page)

1. Liu Shui references
17762.16 流水 gives only geography; 17762.20 流水高山 adds nothing to 46302.32 高山流水 Gaoshan Liushui, discussed elsewhere.
17762.21 流水韻 writes of people using the sound of water to write music, but has nothing beyond the Bo Ya story.
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2. For more on gong mode see Shenpin Gong Yi. For modes in general see Modality in Early Ming Qin Tablature.
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3. Pu Hua: Flowing Stream under a Small Bridge 蒲華，小橋流水圖

Pu Hua fan with similar theme

Pu Hua (1832 - 1911) was a well known painter from 嘉興 Jiaxing in Zhejiang province; further details and paintings can be found from a webpage in his name; as of 2009 the Wikipedia article was just a stub. Note his mention of "qin" in the middle of the inscription and the qin being carried to the right of the bridge. This painting can be found on numerous websites; the original is apparently 新加坡國立大學李港乾美術館藏 in the Lee Kong Chian Collection at the Museum of the National University of Singapore, though their website does not mention it. One online comment says the composition of the painting shows some Western influence.

The full inscription on the painting is as follows:

The inscription begins with a four-line poem, seven characters per line. The third line mentions playing qin. After the poem there is the following explanation: "1893, summer, in the style of Mei Daoren (吳鎮 Wu Zhen, 1280-1354), by Zuoying, (nickname of) Pu Hua." (Thanks to 孫小青 Sun Xiaoqing for clarifying and explaining the calligraphy and the artist.)

In 2009 the first line (山路荒茫風日晴) and part of the last (仿梅道人蒲華) could be found online on a fan with a similar theme.
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4. Xunzi 荀子 on flowing water (see also Confucius on water and mountains)
Xunzi (see also Chapter 7), Chapter 28 宥坐 You Zuo, has the following passage:

孔子觀於東流之水。子貢問於孔子曰：「君子之所以見大水必觀焉者，是何？」孔子曰：「夫水遍與諸生而無為也，似德。其流也埤下，裾拘必循其理，似義，其洸洸乎不淈盡，似道。若有決行之，其應佚若聲響，其赴百仞之谷不懼，似勇。主量必平，似法。盈不求概，似正。淖約微達，似察。以出以入以就鮮絜，似善化。其萬折也必東，似志。是故見大水必觀焉。」

Chapter 28 is generally considered to be an apocryphal section added later. Knoblock, 28/5, translates this section as follows (omitting footnotes from the original translation in Vol III, Books 17 - 32, p. 248. Stanford University Press, 1994):

Confucius was once gazing at the water flowing eastward. Zigong 子貢 questioned Confucius about it, saying: "Why is it that whenever a gentleman sees a great stream, he feels the necessity to contemplate?"

Confucius replied: "Ah! Water - it bestows itself everywhere, on all living things, yet there is no assertion: in this it remembers inner power. Its direction of flow is to descend toward the low ground and whether its course is winding or straight, it necessarily follows its natural principles: in this it resembles morality. {Things float on its surface and its depths cannot be fathomed: in this it resembles knowledge.} Its vast rushing waters are neither subdued nor exhausted: in this is resembles the Way. If there should be anything that blocks its course, its response will be to react against it, like a reverberating echo. It will travel through chasms a hundred rods deep fearlessly: in this it seems as though it had courage. Led to an empty place, it is sure to make itself level: in this it resembles the law. It will fill something completely and not require a leveling stick: in this is resembles rectitude. Indulgent and restrained while penetrating into the subtlest matters: in this it resembles scrutiny. As it comes and goes, it accommodates itself [to whatever impurities encounter it], renewing and purifying them: in this it resembles the transforming power of the good. Through myriad turns and twists its course is certain to flow eastward: in this is resembles the mind with a sense of purpose. It is for such reasons that whenever the gentleman sees a great stream he feels the necessity of contemplating it."

Thanks to Stephen Walker for pointing out the original Chinese passage and to Christopher Evans for sending me a copy of Knoblock's translation. Note that most rivers in China flow generally eastward. Also, the author, whoever he may have been, wrote not of 流水 Liu Shui (Flowing Water) but 流之水 liu zhi shui (flowing water) and 大水 da shui (a great stream); there is no suggestion there was a melody of this title at the time.
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5. Gao Shan Liu Shui 高山流水
Songfengge Qinpu (1677/82) has a melody called Gaoshan Liushui (High Mountains, Flowing Streams). In all other surviving qin handbooks Gao Shan and Liu Shui are separate titles, though usually paired, as here. See further comments under Gao Shan.
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6. Flowing Springs in the Three Gorges (三峽流泉 Sanxia Liu Quan)
See comments in footnote to Shishang Liu Quan (On a Rock by a Flowing Spring). General sources don't mention where Bo Ya lived, but one tradition says it was in Sichuan, location of the Three Gorges. Xu Jian, QSCB, p.177 (Chapter 9), says Tang poetic references to Sanxia Liu Quan also indicate it might be have been an early form of Liu Shui.
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7. Tracing Liu Shui (see details in the appendix below)
Zha Fuxi's Guide 2/25/17 suggests that in the past Gao Shan (which survives in 42 versions from 1425 through 1946) was more popular than Liu Shui (only 33 versions during this period). Note that Gao Shan is not in Zheyin Shizi Qinpu, and the lyrics of the version in Chongxiu Zhenchuan Qinpu (1585) don't fit SQMP. The 1585 version seems to be the only one to have had lyrics.
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8. Shen Qi Mi Pu melodies that survived into the modern repertoire
One can debate whether Gao Shan survived into the modern repertoire: there are some recordings available but they are rare. Melodies which have clearly survived, in addition to Liu Shui, are Meihua Sannong from Folio II and Xiaoxiang Shuiyun from Folio III. In addition several pieces have survived in very much modified form. From Folio II the most recognizable of these is Yin De (in the form of Qiujiang Yebo); much less commonly played are versions of Bai Xue, Liezi Yufeng, Qiao Ge and Shanju Yin. There are no other melodies surviving from Folio III. To my knowledge, other Shen Qi Mi Pu titles played today are either reconstructions, or are unrelated pieces of the same title.
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9. In Yaomen School, Hugo HRP 748-2, track 7 (10.35); Yao Bingyan's timing is 11.59; for mine it is 8.52.
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10. Gunfu 滾拂 (袞拂; in tablature 袞弗)
For this technique (sometimes Romanized kunfu or written 袞拂), the ring finger of the right hand runs down across several strings then the index finger returns back up: in Liu Shui it is from the 7th to 1st, then 1st to 7th strings. The 72 gunfu version of Liu Shui, attributed to Zhang Kongshan (see next), depicts water flowing over rocks so evocatively that one need not be a Zi Qi to realize it. Traditional qin music, though commonly programmatic in title, tends to be more subtle (see further).

Taiyin Daquanji Folio 3 (QQJC I/54) initially has the first technique written 擂 lei (beat, as a drum), or perhaps 播 bo; it then says this is the same as 袞 gun (imperial; later more specifically 滾 rolling; rapid water). As yet I have not yet seen a poetic image of gun and fu together, nor have I seen a description, though 琴鏡續 Qinjing Xu apparently has fugun). According to VG, p.130, gun has been described poetically as "a heron bathing in a whirlpool" (鷺浴盤渦 luyu panwo; he does not give his source)
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11. Zhang Kongshan 長空山
See his biography under Tianwenge Qinpu (1876). Although he apparently developed the so-called 72 gunfu Liu Shui (see below), I have not compared the current version with the tablature in Tianwen'ge Qinpu; there have been claims that after the publication either he or his students made further modificiations.
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12. 72 gunfu Liu Shui (七十二滾拂流水)
To my ears the 72 gunfu version (see above)in the hands of the right player can indeed be beautifully evocative of flowing streams -- to the extent that it should not take a Ziqi to recognize its theme. It is thus perhaps somewhat ironic that the explicit nature of this version has contributed to making it a modern model for evoking the traditional qin aesthetic.
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13. Original preface
None here, but see the Chinese preface under 高山.
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14. Chinese for titles used here
The Chinese titles, from 西麓堂琴統西, 重修真傳琴譜 and Zhu Quan's 朱序, are:

In some cases the divisions are quite clear to the listener. In cases where it is not the reason is usually that I have followed the sectioning that divides the same or similar passages in later tablature, even though when I play it does not feel like a section ending.
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15. This cha 槎 , a popular art object, is usually a piece of wood carved to show an immortal traveling on a log; cf. e.g., Treasures of China, HK, Commercial Press, 1983.
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16. 101.87 dan qiong 丹扃 (XLTQT seems to have shang 戶 + _向); 18213.14 zhanruo 湛若 has only zihao 字號.
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17. 18126.xx yuanxuan 淵泫; Matthews has "a waste of waters"; Zha thinks the characters are yuanjie 淵結 , which he chages to yuanzhi 淵質.
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Appendix: Chart Tracing Liu Shui;
based mainly on Zha Fuxi's Guide, 2/25/17.

琴譜     (year; QQJC Vol/page)	Further information: (QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu) Right aligned commentary is for later versions of Liu Shui; compare Gao Shan chart
1.  神奇秘譜       (1425; I/109)	Original has no sectioning (but compare above) or phrasing indicated; lyrics of 1585 don't fit
2. 風宣玄品       (1539; II/87)	Same as 1425 but adds phrasing
3. 西麓堂琴統       (1549; III/76)	10T; quite different: more elaborate
4. 太音傳習       (1552-61; IV/55)	Phrasing but no sectioning; similar to 1425
5.   重修真傳琴譜       (1585; IV/318)	8T; lyrics; melody is very different
6. 玉梧琴譜       (1589; VI/16)	8; related
7. 藏春塢琴譜       (1602; VI/310)	8; identical to 1589
8.a 真傳正宗琴譜       (1589; VII/154)	8; compare 1425 (楊倫太古遺音)
8.b 真傳正宗琴譜       (1609; VII/--)	same as 1589? (楊倫太古遺音)
9. 古音正宗       (1634; IX/276)	8; related
10. 徽言秘旨       (1647; X/43)	8; related
11. 徽言秘旨訂       (1692; X/---)	missing?
12. 琴苑新傳全編       (1670; XI/317)	8; no subtitles; related but different from 1425
. 松風閣琴譜       (1677/82; XII/387)	Gaoshan Liushui: unrelated
13. 澄鑒堂琴譜       (1670; XIV/206)	7; also related; no Gao Shan
14. 德音堂琴譜       (1691; XII/487)	8; related
15. 嚮山堂琴譜       (<1700?; XIV/93)	7; related Handcopied partial edition beginning with Liu Shui: Gao Shan was in original?
16. 蓼懷堂琴譜       (1702; XIII/178)	8; related
17. 一峰園琴譜       (1709; XIII/514)	4T; related;
18. 琴劍合譜       (1749; ?)	???
19. 穎陽琴譜       (1751; XVI/70)	9; related
20. 自遠堂琴譜       (1802; XVII/298)	7; related
21. 指法匯參確解       (1821; ?)	? No Gao Shan
22. 琴學軔端       (1828; ?)	???
23. 悟雪山房琴譜       (1836; ?)	One version (had two versions of Gao Shan)
24. 槐蔭書屋琴譜       (1840; ?)	???
25. 一經盧琴學       (1845; ?)	?  No Gao Shan
26. 琴學尊聞       (1864; ?)	???
27. 天聞閣琴譜       (1876)	only one version (had three versions of Gao Shan)
28. 希韶閣琴譜       (1878; ?)	???
29. 雙琴書屋琴譜集成       (1884; ?)	???
30. 枯木禪琴譜       (1893; facsimile)	7+1; related
31. 琴學叢書       (1910; 琴府11)	two versions No Gao Shan
32. 雅齋琴譜叢集       (ND; ?)	?
33. 沙堰琴編       (1946; ?)	Sichuan school handbook: see its Gao Shan
34. 夏一峰傳譜       (1957)	#10 has staff notation of a Gaoshan Liushui (see 古琴曲彙編 Guqinqu Huibian, Beijing, 1957: commentary says it is from 1876; it looks like Zhang Kongshan Liu Shui
35. 研易習琴齋琴譜       (1961)	7 sections
36. 愔愔室琴譜       (2000/307)
37. 虞山吳氏琴譜       (2001/40 &: 339)	Staff notation

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