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| Guqin Handbooks Published in Japan Correct Toko Kinpu From Gyokudo Japan Theme Qinci | 首頁 |
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Japanese Handbooks in Qinqu Jicheng
1
The three handbooks in QQJC Vol. 12 (compare the "Correct Toko Kinpu") The focus below is on the first, the Qin Handbook with Lyrics having Japanese Pronunciation. |
日本琴譜目錄
又看東皋琴譜正本 Hewen Zhuyin Qinpu, p.12 |
Japanese qin players have produced numerous handbooks over the years. Most of the important early ones are mentioned in Guqin Handbooks Published in Japan, with some information on later ones also given on that page. Included in Qinqu Jicheng Volume XII are reprints of three of the most important handbooks. All are said to contain the music passed down by 蔣興疇 Jiang Xingchou (1639-1695), who arrived in Japan from Hangzhou in 1676. There, as the monk 心越 Shin-etsu, he became the source of virtually all the qin music played in Japan until the 20th century (the fact that the actual music survived only in handbooks that survive from after he died perhaps led to the inclusion of some extra pieces).
The three Japanese handbooks published in QQJC XII (with 38+4+8 = 50 distinct pieces) are as follows:
Until 2016 my work on qin melodies in Japan was confined to the above volumes. However, in 2016 I acquired information about two other important sources:
The music in those two handbooks are dicussed separately. Meanwhile, the present page outlines the contents of the three handbooks published in Volume XII of Qinqu Jicheng; this should then be compared against the details in the "Correct Toko Kinpu".
Because the three handbooks have considerable overlap in content, these contents are given here as three appendices on a single page rather than separately.
Appendix I
38 melodies (34-1st); all with lyrics, hence the title. Except for the
Fusang cao, these were intended to represent the melodies 蔣興疇 Jiang Xingchou took from Hangzhou to Japan in 1676, though the fact that it survives only in an edition apparently compiled some years after his arrival in Japan has perhaps led to the inclusion of some extra pieces that Jiang either created or wrote down after his arrival. In Japan, as the monk 心越 Shin-etsu
(and other names), Jiang taught many students. Many handbooks following the Shin-Etsu tradition were published later in Japan, generally with the title Toko Kinpu.
The volume used for QQJC, now in the Shanghai Library, was brought from Japan to China around 1900 by Zhou Qingyun. In his QSCM (#321) Zhou Qingyun writes that the book, which he calls 和文注琴譜 Hewen Zhu Qinpu, is a hand copy said at one time to have been in 桂川家藏 the collection of the Katsuragawa family.4 He adds that 每譜前有桂川家藏印記 in front of each melody was the Katsuragawa family seal. The copy in QQJC has the seal marks only in front of a few of these.5 This brings up the question of whether Zhou may have made his own copy, or had someone make a copy, from the original.
Based on the information in
Yang (p.59 & 62), of the versions he examined the one closest to Hewen Zhuyin Qinpu (which Yang refers to as Hewen Zhu Qinpu) seems to have been based initially on a third edition of Katsuragawa, "compiled by Kojima Hyaku’ichi 兒島百一 (1778‐1835) in early nineteenth century", with 46 pieces in three volumes. If so, the edition in QQJC was considerably edited, in particularly missing melodies from the latter half of
Toko Kinpu Zhengben (referred to below as simply "the Zhengben").
Zha Fuxi in his preface ascribes the date of this collection simply to "before 1676". He also says that it was compiled by the monk Toko Etsu. This must be based on a belief that the melodies were brought to Japan by the Buddhist monk Jiang Xingchou when he arrived there from Hangzhou in 1676; in Japan he was known as Toko Etsu (also other names).
However, as the QQJC preface itself points out, in this handbook most of the melodies have indications that either Shin-Etsu himself or one of his students revised them.6 In addition, the handbook itself labels two of the melodies (#34 and #35) as 扶桑操 Fusang Cao, Japanese melodies (Fusang was an old name for Japan).7
The evidence suggesting that many of these melodies were at that time actively played in China is largely circumstantial. Although very few of them can be found in handbooks published in China, there were probably many qin songs that were sung but, though perhaps hand-copied, never published. And before Jiang Xingchou arrived in Japan and became Shin-Etsu, he was active as a qin player in both Nanjing and Hangzhou. Nanjing was a center of the so-called Jiang School, which emphasized qin melodies with lyrics.
Cipai
(lyrics that use the structures of old ci poems)
Melodies published in both China and Japan
So far I have found the following connections between the melodies published in Japan and melodies surviving in handbooks produced in China.
See also Yu Qiao Wenda and Yangguan Sandie below under the Toko Kinpu.
Gong Mode (宮音 Gong Yin)
Shang Mode (商音 Shang Yin)
（泛起）凡有血氣者，莫不尊親，故曰配天。
For comment on the Doctrine of the Mean and Zen Buddhism see
Hsueh-Li Cheng
Transcribed in Wang Di, #44 (pp.109-110).
Transcribed in Wang Di, #43 (pp.107-8).
Transcribed in Wang Di, #46 (pp.111-2).
眾芳搖落獨鮮妍，佔盡風情向小園。 （鮮 elsewhere 暄）
The introduction to Jing Guan Yin dated 1609
quotes the second line of these lyrics.
Yu Mode (羽音 Yu Yin)
雲冉冉。草萋萋。憶臨岐，秋士休悲。聽武夷幔亭仙樂。便驂鸞梅福也相期。
春閨 Chun Gui has no connection with 春閨怨
Chun Gui Yuan.
Also transcribed in Wang Di, #52, p.124
(compare my transcription).
Shangjiao Mode (商角音 Shangjiao Yin)
Transcribed in Wang Di, #47 (p.113).
Shang Mode (商音 Shang Yin)
扶桑操(之一) Fusang Cao
Jiao Mode (角音 Jiao Yin)
榮枯得失，天已安排畢，何用強勞心力。
Ruibin Mode (蕤賓音 Ruibin Yin)
Gong Mode (宮音 Gong Yin)
The present version is in particular similar in music and lyrics to the only other version with lyrics, i.e., the one in Chongxiu Zhenchuan Qinpu (1585). Both have four sections, though in Japan the sections are not numbered. The lyrics amount to about 700 characters in all, beginning:
懸崔削壁，天外雲間，蓬萊第一山.... (The entire Gao Shan lyrics can be seen on this .pdf file [146.5 KB]).
Appendix II
Although Van Gulik says that Toko Kinpu has Japanese copies of pieces Shin-etsu (Toko Zenji) taught beginners, this might not have been
completely true; Zha Fuxi mentions numerous editions. The earliest (1709) was not available for QQJC, so Zha Fuxi took two of the many later editions and appended them to Hewen Zhuyin Qinpu:
This edition was compiled in the 9th year of Meiwa, 1764 - 1772.
Transcribed in Wang Di, #54, p.126.
Appendix III
Although the lyrics are here unattributed (101.237xxx?), some online sources say the first three lines form 岐山下 Qi Shan Xia by 韓愈 Han Yu. The rest is said to be from 說苑，辨物 the chapter Bian Wu in the Shuo Yuan.
後記 Afterword：
1.
Japanese Guqin Handbooks
Zha Fuxi goes on to suggest that this handbook, though copied later by various people, came directly from Shen-Etsu. However, the account
above suggests questions this.
2.
Hewen Zhuyin Qinpu, p.1
3.
"Correct Toko Kinpu"
4.
Katsuragawa Family Collection (桂川家藏)
5.
Pieces with the Katsuragawa family seal
6.
"訂正、校正"; it is not clear whether the revisions were to the melodies, to the lyrics, or to both.
7.
A preliminary investigation suggests they are still in a Chinese style.
15 melodies, all with lyrics; 4 of them were not in 1676;
35 melodies, all with lyrics; 8 were not in either 1676 or 1709
Published in Japan in 2001 as a limited edition of 50 copies, then re-published in a facsimile Chinese edition in China in 2016, this is a reconstructed version of what was apparently the most complete handbook of the repertoire of Jiang Xingchou (Toko Etsu; Shin-Etsu) after he arrived in Japan in 1676. As such it has information that is particularly important in trying to determine which melodies he actually brought to Japan, which ones he revised or otherwise added after arriving there, and which came later. It should be emphasized that this is an ongoing process, and quite likely there are errors here on these matters.3
Gyokudo Uragami (1745-1820) apparently studied the above tradition but then developed an entirely different repertoire. Details of this are presented on a separate page.
-------------------------------------------------------
和文注音琴譜 Hewen Zhu(yin) Qinpu
Qinqu Jicheng, Vol. XII/167 - 241
"Qin Handbook with Lyrics having Japanese Pronunciation"
Lang Tao Sha
Zui Weng Cao
Chang Xiang Si
You Jian Quan
Cao Tang Yin (first four of ten sections)
Le Ji Yin
Fei Qiong Yin
Mei Hua
Table of Contents for Hewen Zhuyin Qinpu
The original is top right
(expanded version); no commentary; version of the beginners' melody aka 操縵引 Caoman Yin and 仙翁操 Xianweng Cao;
Music and lyrics unattributed; lyrics begin "得道仙翁，得道陳摶仙翁，得道陳摶仙翁，...." (not sung on video)
Qing Ping Yue is the name of a 詞牌 cipai with 46 characters (as here: 4,5;7,6. 6,6;6,6). For the version in Japanese handbooks the lyrics ("The magpie bridge forms....") by 孫蒼虬 Sun Cangqiu concern the legend of the cowherd and weaving girl (牛郎織女), as follows:
凝眸斗渚迢遙，浮槎定擬今宵。誰識天涯此際，教人暗裏魂銷。
(translation)
Zha Guide 32/--/471: 1618 (only VIII/342 [1-string qin] and Japan [same lyrics, different music]). Also transcribed in Wang Di (#30, pp.103)
The lyrics by 歐陽修 Ouyang Xiu, in the cipai of this name (structured [5,4;7;7,4.] x 2), begin
Subtitle: 除夜 Chuye (New Year's Eve)
Zha Guide 34/--/502: only in Japan; name of a cipai. Lyrics by the Song dynasty poet 胡浩然 Hu Haoran. It begins,
10.126 三才 says "所謂天、地、人 it refers to heaven, earth and people"; see the
孝經 Classic of Filial Piety in
ctext: "夫孝，天之經也，地之義也，民之行也
Filial piety is the constant (method) of Heaven, the righteousness of Earth, and the practical duty of Man." The body of this melody concerns heaven and earth, while the harmonics at the end honor Confucius himself, "All who have blood and breath unfeignedly honor and love him. Hence it is said, "He is the equal of Heaven."
Zha Guide 25/208/502 has one other listing,
1559 (no lyrics; unrelated melody; phrasing doesn't seem to fit)
Lyrics are identified as from from 中庸 Doctrine of the Mean, Chapter 25
(ctext.org: most of #27 (omit poem at end), then (in harmonics)
the end of #32; translation from Legge 26 also in Confucius, Dover, p.420-21 and 429); see Wang Yiheng (?)
其為物不二，則其生物不測。
天地之道，博也厚也，高也明也，悠也久也。
今夫天，斯昭昭之多，及其無窮也，日月星辰系焉，萬物覆焉。
今夫地，一撮土之多，及其廣厚，載華岳而不重，振河海而不泄，萬物載焉。
今夫山，一拳石之多，及其廣大，草木生之，禽獸居之，寶藏興焉。
今夫水，一勺之多，及其不測，黿鼉、蛟龍、魚鱉生焉，貨財殖焉。
Zha Guide 34/--/502 only in Japan
Lyrics are from 中庸 Doctrine of the Mean, Chapter 27
(ctext.org #28;
Legge, Confucius, Dover, p.422-3); again see Wang Yiheng (?)
洋洋乎發育萬物，峻極于天。
優優大哉！
禮儀三百，威儀三千，待其人然後行。
故曰：
苟不至德，至道不凝焉。
故君子尊德性而道問學，致廣大而盡精微，極高明而中庸。
溫故而知新，敦厚以崇禮。
是故居上不驕，為下不倍；
國有道，其言足以興，國無道，其默足以容。
尾：《詩 [260]》曰：（泛起）
「既明且哲，以保其身。」
其此之謂與！
Zha Guide 34/260/503 lists it here and in
1840 (XXIII/347)
See also below; "聖湖野樵訂 Edited by Seiko ...."(?)
Lyrics are a poem in
YFSJ (p.1180) attributed to
漢武帝 Han emperor Wudi (called 辭, not 詞)
Zha Guide 13/145/251; main intro and translation at
1511
Lyrics by 陶淵明 Tao Yuanming; similar music to the common ones, but divided into sections as in
Taigu Zhengyin Qinpu (Yangchun Tang Qinpu, 1611; VII/455)
Zha Guide 34/--/503; only in Japan
Lyrics by 李青蓮 i.e., 李白 Li Bai.
秋風吹不盡，總是玉關情。
何日平胡虜，良人罷遠征。
Zha Guide 34/260/504: only Japan and the musically unrelated
1739 (XVIII/161)
Lyrics by Li Bai; further detail.
Zha Guide 35/--/504: only in Japan; 122.23 jiu bie: long separated
Same as Jiu Libie below;
lyrics by Li Bai
玉窗五見櫻桃花。
況有錦字書。
開緘使人嗟。
至此腸斷彼心絕。
雲鬟綠鬢罷梳結。
愁如回飆亂白雪。 (飆 here written 一 over 儿 with 百 inside plus 炎 at right)
去年寄書報陽台。
今年寄書重相催。
東風兮東風。
為我吹行雲使西來。
待來竟不來。
落花寂寂委青苔。
Zha Guide 16/--/362 醉翁亭 (also 醉翁吟, e.g,
1539) lists various versions with differing music and sometimes differing lyrics
(details)
The lyrics of Sections 1 and 2 are, as in 1539, by Su Dongpo; Section 3
惟翁醉中知其天。
月明，風露娟娟，人未眠。
荷蕢過山前，
曰﹕有心也哉此賢。
醉翁去後，空有朝禽、夜猿。
山有時而童顛，水有時而回川，
思翁無歲年。
翁今為飛仙，此意在人間﹕
試聽徽外三兩絃。
彈琴招明月，明月落我絃。
清風月明人亦仙，
曲罷月落風自然，
曲罷月落風自然。
Zha Guide 35/--/504: only here; 甘州 Ganzhou is today called 張掖 Zhangye (Gansu province)
Lyrics by Su Dongpo; the earliest poem in this form was by Liu Yong, discussed further here. Also transribed in Wang Di, #49 (pp.115/6).
Zha Guide 35/--/505: only here; Rui He Xian (21606.133) is a cipai from a 周邦彥 Zhou Bangyan Northern Song poem (compare Qiliang Fan as well as Ruilong Yin).
The lyrics here are by 黃山谷 Huang Shan'gu (i.e.,
Huang Tingjian), retelling Ouyang Xiu's 醉翁亭記 Record of the Old Toper's Pavilion
Although it reads like a narrative, it does follow a version of the ci pattern.
43079.41: On Phoenix Terrace Recalling the Playing of a Flute; no mention of cipai
Zha Guide 35/--/505: only here, adding "different from
1609" (Gui Yuan Cao), which has the same lyrics but a different melody
The title is a cipai; the lyrics by 李易南, i.e., 李清照 Li Qingzhao (1084 - ca.1151), are about her absent lover:
Zha Guide 35/--/505: only here; 5965.xxx; an old title
Transcribed in Wang Di (#41, pp.105; first verse only)
The piece has two verses; both have 40 characters but their phrasing is different
Zha Guide 35/--/506, only in Japan; 48157.42 and 12/1145 have only 鶴沖天 He Chong Tian (see in 1511): Cranes Pierce the Heavens
(or A Crane Pierces the Heavens, i.e., a person becomes an immortal in the form of a crane).
Lyrics, by 和凝 He Ning are verse 2 of his poem in
cipai 春光好 Chun Guang Hao, as follows:
雙浴鴛鴦出綠汀，棹歌聲。
春水無風無浪，春天半雨半晴。
紅粉相隨南浦晚，幾含情。
Zha Guide 35/--/506; only here. Lyrics by 何籀 He Zhou (Bio/xxx; Song). Also called 點降脣 Dian Jiang Chun. Lyrics here have same the structure as in 1682 (滴瀝新晴，高秋雲薄渾如削....) as well as in Cao Tang Yin #2, below. The lyrics are,
鶯踏花翻，亂紅堆徑無人掃。 (鶯 is elsewhere written 鸎)
杜鵑來了，梅子枝頭小。
撥盡琵琶，總是相思調。
知音少。
暗傷懷抱，門掩青春老。
Zha Guide 24/203/506 has two, the other an unrelated melody from 1559 with no lyrics
Lyrics are from one of the Three Poems on Snow (雪三首 Xue San Shou) by 林和靖 Lin Heqing, i.e., 林逋
Lin Bu:
清夾曉林初落索，冷和春雨轉飄蕭。
堪憐雀避來閒地，最愛僧衝過短橋。
獨有閉關孤隱者，一軒貧病在顏瓢。
Page includes my recording together with the lyrics by Lin Bu.
疏影橫斜水清淺，暗香浮動月黃昏。
霜禽欲下先偷眼，粉蝶如知合斷魂。
幸有微吟可相狎，不須檀板共金尊。
Only in Japan; melody clearly related to #20; lyrics are a poem by Cheng Hao:
萬物靜觀皆自得，四時佳興與人同。
道通天地有形外，思入風云變態中。
富貴不淫貧賤樂，男兒到此是豪雄。
Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo); see also #23, #24 and #26. Further detail
here, including
alternate lyrics by Liu Yong.
應只有，奇字盈囊。虎跳龍臥。落紙徵飛。過嚴灘。為訪富春舊跡。重上釣魚磯。
何況是，到處逢迎。天涯知己，斫鱠銜杯。懷故苑。暢好荔枝未熟。勸汝莫忘歸。
Zha 35/--/507 as above; further comment here.
Zha Guide 35/--/508: only in Japan; 華清引 31910.208 only 華清 Hua Qing (man's name)
Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo); see also #22, #23 and #26
(Elsewhere the poem has the added comment "晏起 (評語：羡門雲，非玉台金屋人不解。")
丁香輕掩扣微差。綠雲半側堆鴉。枕痕紅暈重。不敢見菱花。
The music here is unrelated to that of the
Pili Yin used for
Feng Lei Yin
Lyrics by 唐，沈佺期 Shen Quanqi (c.650-713), also in YFSJ, begin
客有鼓瑟於門者，奏霹靂之商聲。
Only here; cipai;
Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo; see #22, #23 and #24 above)
偏與愁人作楚。細思量、甚事恰關卿。無端似。空床泣恨。斷軫傳情。
年年慣做西風伴。隱荒苔。啼殘青穗余燈。哀笳遠笛。飛來何處秋聲。
二十五番寒照靜。聽清鉦、歷歷嚴更。偏怨汝。叫回孤夢。短發星星。
Zha Guide 35/--/509: only in Japan; 11558.1:
cipai; 7,7,7.3,7. (here the last 7 is repeated)
Opening four notes same as Zhu Zhi Ci but with harmonics on first two (the Zhengben is the same);
Lyrics by 秦少游 Qin Shaoyou (秦觀 Qin Guan, 1049 - 1100)
杜宇聲聲不忍聞，欲黃昏，
雨打梨花深閉門。 (This line written out again for the closing harmonic passage.)
Zha Guide 35/--/509: only here; 31629.173 etc. xxx; "from 曲肱軒 Qu Gong Xuan"
The lyrics here are the same as those of the first four sections plus the first line of the fifth section, of the 10+1 section melody 梨雲春思 Li Yun Chun Si, which attributes them to 錢塘毛先舒 Mao Xianshu, who lived in Hangzhou when Jiang Xingchou was there.
輕暖破寒，檐雲閣雨，庭院深深鶯語。
夭桃枝半出牆頭，見無數蜂狂蝶舞。
柳外繡鞍，花前羅襪，陌上喧天簫鼓。
春風意惱人腸，問何處江皋湘浦。
細雨斜風，十二高樓煙幾寸。
誰相廝讓？傳與青鸞信。
倦倚珠簾，長抱青春恨。
悶悶悶。
亂紅成陣，又是清明近。
獨自步苔階，驚訊海棠開遍。
怪得東皇有意，也到深深院。
惜花常是為花愁，羞妬春風面。
閉門不管韶華，付與驚和燕。
借問東風來幾時，玉堂彩燕雙飛。
浮花浪蘃弄春暉，蜂蝶霏霏。
門巷輪諦雜沓，園林紅紫芳菲。
海棠自惜是花妃，着意徘徊，着意徘徊。
尾 Wei (coda)
昨夜東風入畫屏，欹杴不勝情。
Zha Guide 35/--/510; as with #2 Qing Ping Yue, same lyrics as but different music from:
1677 (XII/374),
1677 (XII/392) and
1802 (XVII/549);
it is not in 1738 (?)
Lyrics by 馮延巳 Feng Yansi (903? - 960; ICTCL) follow the cipai:
憶歸期，數歸期，夢見雖多相見稀，相逢知幾時。
Zha Guide 26/215/408: 3rd of 5 with this title; same lyrics and music as in 1618;
compare 1585
Lyrics, which have no connection to those in
YFSJ, are from a ghost story about Su Shi and a female qin player;
for this reason they are generally attributed to Su Shi himself.
Zha Guide 35/--/510: only in Japan; zhu zhi ci were
(ABC) "ancient folk love poems" or "classical poems on local themes". Compare Yi Wangsun. The anonymous lyrics begin
Zha Guide 35/--/511: only in Japan; "Little Melody"
Lyrics unattributed. Also transcribed in Wang Di (#37, pp.102)
Zha Guide 35/--/511: only here; see comment under
Dun Shi Cao
Lyrics are unattributed but can be found in earlier sources such as #3 in the Qin Cao of
Yang Weizhen.
(N.B., baike.baidu.com specifies they are from Yang's 鐵崖樂府 Tiěyá Yuèfǔ.
牽牛何來兮飲吾上流，彼以天下讓兮我以之逃。
世豈無堯兮應堯之求，吾與堯友兮不與堯憂。
("Fusang" is an old name for Japan, but the following three melodies do not sound Japanese, so this comment is thought to mean they were created in Japan by Shin-etsu himself. See also more.)
Zha Guide: 35/--/511: only in Japan
Lyrics unattributed;
淳風穆穆，厚德洋洋。
禮樂聲久，詩書音義長。
物阜兮，廣貯廣積，民安兮，多善多良。
山川萃秀兮，水色微茫。
亰國生奇兮，樹影菁蒼。
衆美具兮，人齊暢，恍疑遊世羲皇。
Zha Guide: 35/--/512: only in Japan (no connection to
思親操 Si Qin Cao)
Lyrics unattributed; also transcribed in Wang Di (#38, pp.102)
終日思親人不知，一日思親十二時。
Zha Guide 35/--/512: only in Japan (fusang); 7221.314 only an pai
Lyrics "by a person of the Song dynasty" (compare 安分咏 An Fen Yong in 解人頤 Jie Ren Yi by 錢德蒼 Qian Decang [18th c.])
榮休喜，辱休惱，開先謝早，此理人知少。
萬事算來由命，聽自然真個好。
得一日，過一日，泰來否極，機巧終可益。
萬事付之一笑，前程事，暗如漆。
Zha Guide 24/201/384: see introduction at
Yu Ge Diao
Same Liu Zongyuan lyrics but melody is quite different
Zha Guide 2/21/14; a comment at end says, "神品執徐孟冬再校正". The melody and lyrics are similar to some of the
versions published in China,
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明和本東皋琴譜
Minghe Ben Donggao Qinpu
Qinqu Jicheng XII/245-59
Four pieces are not in Hewen:
Table of Contents
Lyrics unattributed; same as the Tiaoxian Runong in
1676
Lyrics by 歐陽修 Ouyang Xiu; also in 1676
Lyrics (滄浪之水清兮....) by Qu Yuan; Zha Guide 39/--/552; no musical relation to Fan Canglang; transcribed in
Wang Di (#34, pp.100)
Also included below
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; same as 1676
See also 1676 above
Lyrics by 杜牧 Du Mu; also below; Zha Guide 40/--/553
not in QQJC XII;
Wang Di (#35, p.100) transcribes this as 送隱者 Song Yinzhe
松道世間唯白髮，貴人頭上不會饒。
Zhiyin; lyrics only 南風之薰兮，可以解吾民之慍兮。南風之時兮，可以阜吾民之財兮。
Same as Nanxun Cao below; see
my transcription and listen to my recording.
These lyrics were also in the musically unrelated Nan Feng Ge (1.B.)
Lyrics; same lyrics and music as in 1676
Lyrics; same as 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics: only the four lines of Wang Wei's poem, thus different from (shorter than) the Yangguan Sandie below; also qiliang tuning
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大原止郎本東皋琴譜 Dayuan Zhilang ben Donggao Qinpu
Qinqu Jicheng, XII/261-285
No further information as yet on Ohara Shiro
Eight pieces are not in either of the above two handbooks:
Table of Contents
Lyrics; also in 1676
Lyrics by 馮延已 Feng Yanyi (not in YFSJ 69, pp.990-5);
also in 1676
Lyrics and music same as in Nanfeng Ge above but mode called shangyin
Lyrics; also above in 1772
Lyrics by Lin Bu;
virtually identical to 1676
Lyrics; same as 1676
Same as 1676 and 1772
Lyrics; also in 1676
47641.102xxx; only here; not in Zha Guide; not related to
1525. The lyrics are:
昔周有盛徳，此鳥鳴髙岡。
和聲隨翔風，窈窕相飄揚。
鳳凰鳴矣，于彼高岡。
梧桐生矣，于彼朝陽。
梧桐生矣，于彼朝陽。
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; same as 1676
Lyrics; same as Jiu Bieli in 1676
Lyrics by 歐陽修 Ouyang Xiu; also in 1676
Lyrics unattited ; not in Zha Guide; only here (and
TKKP 26)
志合若彈流水操，機總常着不爭棊。
一時意氣排萃岳，千古文章重楚辭。
年少終童君莫讓。長纓何日繁龜茲。
右《石交吟》者馬季良之諧譜也，師絕愛此曲之詞調，雖非師所諧乃手澤之舊譜也，其情可見又何不附載耶。
.... this tablature was harmonized by Ma Jiliang....
庚寅冬，葛村漁長識。 The comment (winter of gengyin: 1710? 1770? etc) was by Kuzumura/Katsumura Rryonaga/Isanaga
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also above in 1772
Lyrics by 孫蒼虬 Sun Cangqiu (孫蒼虯? 7135.xxx); also in 1676
Lyrics; same as 1676
Lyrics; also in 1676
Lyrics; also in 1676 (2)
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; related to various Yu Qiao Wenda Chinese versions, especially the one dated 1589?
Transcribed in Wang Di, #51, pp.117-123.
Lyrics; qiliang tuning; related to the short Chinese versions but longer than the Yangguan Qu above;
Transcribed in Wang Di, #50, p.116.
Lyrics (習習谷風....) as section 1 of
1511 and
of 1618, but melody seems unlike any Chinese version; not in the other Japanese handbooks
Lyrics; also in 1676
Only lyrics, no music; not in the other Japanese handbooks
Only lyrics, no music; not in the other Japanese handbooks
One section, no lyrics, only music; any lyrics would be similar to those in
#1 above, but although the music is in the same style, it is rather different
Footnotes (Shorthand references are explained on a
separate page)
These three handbooks are all in 琴曲集成 Qinqu Jicheng (QQJC), Volume XII/165-381. The QQJC preface by Zha Fuxi (p. ii), entitled "和文注音琴譜 Hewen Zhuyin Qinpu" (the other two volumes included here are mentioned only in the last line) begins as follows:
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From QQJC XII/167. The expanded version is from pp. 167-8. The larger seal below the title of the first piece says, "桂川家臧 Katsuragawa Family Collection" (see below").
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To determine the accuracy of this handbook compared to the ones in Qinqu Jicheng, discussed here, required comprehensive study of completed reconstructions. As with those handbooks, the "Correct Toko Kinpu" has its own mistakes.
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桂川月池 Katsuragawa Etchi (1751 - 1809), a doctor of Chinese medicine, was also a qin player. See Van Gulik, Lore, p.239.
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There are four: QQJC/XII/pp.167, 190, 205 and 220. The image at top shows p.167.
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Return to the Guqin ToC