Qin Shi

Qin Shi, by Zhu Changwen, has six folios. The first five folios have 144 biographical essays³ (11 concern women⁴); the final folio has 11 theoretical and practical treatises.⁵

The biographical essays relate legends and biographies from the earliest days of the qin to the time of the author. They seem to be organized as much by source as by chronology. The standard format of the entries is that Zhu Changwen begins by quoting or paraphrasing existing written sources, then perhaps adds his own comments. He rarely indicates the source. Some of these quoted sources have been translated elsewhere.

Very little of this work has been translated anywhere, and most of my own translations here were done in rough form some years ago.⁶ Eventually each entry will have two sections, an opening explanation then, indented, a translation of the original Qin Shi article. The longer entries will be linked to separate entries.

(Introductory Essays)

朱長文序 Preface by Zhu Changwen
謹書 Respectful essay of 姪孫正大 Grandnephew (Zhu?) Zhengda
誌 Recollections of 五世孫 fifth generation grandson Mengyi (7540.0 [like 寐 but 夢 replaces 未] + 矣) None yet translated

卷一 Folio 1

帝堯 Emperor Yao (traditional dates 2356-2255)
Emperor Yao, also called 唐堯 Tang Yao, succeeded (his father?) 帝嚳 Emperor Ku. Noting the virtues of Shun, Yao married two of his daughters, 鵝黃 E Huang and 女英 Nü Ying, to Shun (see Xiangfei Yuan). Then when Yao's sons proved unworthy he named 舜 Shun (see #2 below) as his successor. He is also said to have tried to pass on the throne to Xu You. A strong tradition held that the reigns of Yao and Shun formed China's golden age. As for music, The Book of Rites says he created a melody called Da Zhang (大章 5960.1032). Yuefu Shiji (p.824) has lyrics he is said to have written for the melody Shenren Chang. And see also Kangqu Yao.
When Emperor Yao dwelled on earth his sacred good nature was so all encompassing that people could not describe it, and the visible results of his affairs were so majestic that they had good effect. Yang Xiong once said, Methods began with Fu Xi; they were fulfilled by Yao. If it were not for Fu Xi and Yao, having propriety and morality would be like whistling in the dark. Now qin is one of these methods. So when (Yao) created (the melody) Da Zhang, qin sounds certainly accompanied it. According to an old tradition Yao had the old qin melody Shenren Chang. (Music) written when harmonizing pleasures he decreed should be called 暢 chang; success was possible so this was called bringing order to the world. (Music) written when melancholy he decreed should be called 操 cao; there was failure so this was called improving one's person. (Mencius said,) "If someone seems sage-like but this is beyond our comprehension, we then call him divine." If such a description doesn't fit Yao, who would it fit?
帝舜 Emperor Shun (traditional dates 2317-2208)
See separate entry
大禹 Da Yu (Great Yu; traditional d. 2197 BCE)
See separate entry
成湯 Cheng Tang (ca. 18th c. BCE)
Cheng Tang (Tang the Conqueror, see Shi Ji #3; GSR I, p.41ff) overthrew the last Xia ruler, the evil 桀癸 Jie Gui, and established the 商 Shang dynasty. However, he claimed legitimacy through a direct ancestral line from 契 Xie, a son of 帝嚳 Emperor Ku, one of the earliest legendary emperors. No music has survived for the melody titles Instructions on Hunting (訓畋操 Xun Tian Cao, 36079.xxx) or Drained Fields Melody (畎畝操 Quanmu Cao, 22265.5xxx). Song dynasty lists attribute to him a 訓田操 Xun Tian Cao (36079.xxx), adding that it concerns military affairs; in addition, Yi Yin and Cheng Tang are sometimes connected to the melody Geng Ge.
Cheng Tang inherited the right to his position through Xie. Encountering the disorders of the Xia dynasty he nurtured benevolence and carried out righteousness in order to lead all the feudal princes. Once when out in the countryside he saw that someone had extended (bird-catching) nets on all four sides, and was praying, "From the four corners of the earth may the (birds) come into my nets." Tang said, "Aiya! This will exhaust them." He then removed the nets from three sides. If old it is said there is (a qin melody called) Instructions on Hunting Melody connected to this story. Perhaps the one called Drained Fields Melody has to do with Tang asking 伊尹 Yi Yin to Drain the Fields.
太王 Tai Wang, Supreme King (d. 12th c. BCE)
See separate entry; Tai Wang was also called 古公亶父 Gugong (old duke) Danfu
王季 King Ji (12th/11th c. BCE)
See separate entry; given name Jili; son of #5 Tai Wang
文王 Wen Wang (d. ca. 1073 BCE)
See separate entry; also called Lord of the West; he was a son of #6 King Ji
武王 Wu Wang, the Martial King (r. 1073 - 1068)
Wu Wang defeated 紂辛 Zhou Xin, the last Shang ruler, on behalf of his father, #7 Wen Wang, but is himself considered the first Zhou ruler. Upon Wu Wang's death his younger brother, #10 Zhou Gong, served as regent for Wu Wang's son, #9 Cheng Wang. The biography here quotes Shi Ji, Annal 4, adding the comment about his Lament on the Defeat of Shang (剋商操 Ke Shang Cao), lyrics for which are in YFSJ p.831.
Wu Wang took responsibility for matters after the death of Wen Wang. With all his military skill, as soon as he donned his military garb the world settled down. When he returned to Zhou (after defeating Shang) he could not sleep at night. Zhou Gong went to (Wu) Wang's place and asked, Why can you not sleep?" (Wu) Wang said, I have not yet secured the protection of Heaven. How can I have free time for sleep?" From antiquity the Lament on the Defeat of Shang was passed down. This was sadness because he had taken control, but had not yet solved the people's problems. It is not a song exhalting his defeat of Zhou Xin through military skill.
成王 Cheng Wang (r. 1115 - 1078)
Cheng Wang was a child when his father #8 Wu Wang died, so #10 Zhou Gong acted as regent). After he came of age and took control of the government, Cheng Wang is said to have written a 神鳳之操 Holy Phoenix Lament (25211.391 and YFSJ p.832), also called 鳳凰來儀 Fenghuang Lai Yi. Several surviving handbooks have a melody of this title. The account here does not mention Feng Lei Yin, sometimes associated with Cheng Wang but also said to be the same as a melody called 霹靂引 Pili Yin, attributed to Chu Shang Liang.
When Cheng Wang came into office, he was young in years, but could entrust Zhou Gong to carry on the government. After seven years....
周公 Zhou Gong (Duke of Zhou; also called 魯周公 Duke Zhou of Lu)
(Shi Ji #33; brother of #8 Wu Wang and regent for #9 Cheng Wang; some handbooks say he wrote Geng Ge to instruct Cheng Wang.) The Qin Shi biography says Zhou Gong wrote Yueshang Cao and Linshen Cao, but does not mention Zhou Jin Teng (Qin Cao, Hejian Zage, #6). It says he wrote Yueshang Cao (YFSJ, p.831f) after the people of Annam sent a tributary emissary to honor Cheng Wang. It says he wrote 臨深操 Linshen Cao (30758.150 "approaching an abyss", doesn't connect to qin, but connects to Book of Songs #195) concerning his responsibilities (?). Much of the Shi Jing (namely: 二南 Two Souths [Airs of 周 Zhou and 召 Shao], [大、小]雅 the Odes, and 頌 the Hymns [周、魯、商]) all became qin melodies because of Zhou Gong's direction. They thus had good effects at court, in the countryside, in the homes and at schools.
Zhou Gong used his sagely talents...
孔子 Confucius (551-479)
See separate entry
許由 Xu You (ca. 2000 BCE)
36125.50 says Xu You was a man of 陽城槐里 Huaili in Yang Cheng (登封 Dengfeng County in Henan, near the Songshan mountain range). While a recluse in 沛澤 Peize, Emperor 堯 Yao offered him the throne so Xu You fled to the area on the north bank of the 穎水 Ying River, below 箕山 Jishan Ji Shan (Mount Ji), also said to be in Dengfeng county. This means his entry here breaks the chronological order, as Yao supposedly lived around 2000 BCE. Xu You supposedly wrote the qin melody 箕山操 Jishan Cao (see Dun Shi Cao) to describe the story told here of his turning down Yao's offer to hand over the country to him. In some versions Yao came to Mount Ji, in others Xu You flees there after the offer. He also is said to have washed out his ears because of the offense to them.
At the time of Yao, Xu You was a recluse. Of old it was said, Yao formerly granted the rule of the earth to Xu You, but Xu You wouldn't take it; in fact, he was ashamed of this, (so) he ran off and hid in Mount Ji; as a result Jishan Cao has been transmitted. Today on the mountain top there is still a mound; (the Han dynasty historian) Sima Qian was of the opinion that this was the place; he said it was not completely seen in the six arts (propriety, music, archery, charioteering, writing and mathematics). Although speakers transmitted it with honor (?), how can we ignore this? The good civilian sages of old certainly included those who didn't use the earth to change their happiness. Yangzi (Yang Xiong, 53 BCE - 18 CE) said (Xu) You's pursuits were not of this world; this is believable. Whatever name of a qin piece was carried on to later generations perhaps he himself made it, or perhaps later people transmitted and sang it.
夷、齊 Yi Qi (伯夷、叔齊 Bo Yi and Shu Qi)
See separate entry
箕子 Jizi, Viscount of Ji
See separate entry
微子 Weizi (Viscount of Wei)
See separate entry
伯奇 Bo Qi, i.e., 尹伯奇 Yin Boqi (9th c. BCE)
Yin Boqi was the eldest son of 尹吉甫 Yin Jifu, a leading minister for 周宣王 King Xuan of Zhou, r. 827-782). When Boqi was slandered by the wife of the second son (other versions say it was Yin Jifu's second wife) he fled to the countryside. Here he wrote 履霜操 Lüshuang Cao (lyrics are from YFSJ, Folio 57, #21) to speak his misery after his father had been persuaded to send him away. He is also associated with a melody called Zi An zhi Cao
介之推 Jiezhi Tui (also called 介子推 Jiezi Tui); 7th c. BCE
See separate entry.
史魚 Shi Yu (Historian Yu 3334.143)
As a minister of 衛靈公 Duke Ling of Wei (534-492 BCE), Shi Yu criticized the duke for employing a bad official 彌子瑕 Mi Zixia; when the advise was ignored Shi Yu died of grief, telling his son not to bury him preperly as he hand not been able to serve properly. Hearing this the duke understood and was respectful. However, Confucius said Shi Yu was too inflexible in his advice. Qin Cao, Hejian Zage, #15, is Shi Yu's Jian Bu Wei Ge (36549.xx Admonish without Waivering Song); see also Shi Yu Shang Jian Ge.
(N.B. Shi Ji #67 [GSR VII p.63ff] discusses all of the following disciples of Confucius, but does not have the qin stories)
顏子 Yanzi, Master Yan (514 - 483)
Nickname of 顏回 Yan Hui, style name 子淵 Zi Yuan; see separate entry
子張 Zizhang (503 - 447 BCE)
Zizhang was a nickname of 顓孫師 Zhuansun Shi (7072.441). After his parents died Zizhang became a prominent disciple of Confucius. He played the qin together with Confucius (no melody named); when he played people became 俯 fu (obedient; compare #21 Zixia)
子夏 Zixia (507-425).
Nickname of 卜商 Bu Shang (see separate entry)
閔子 Minzi (born 535 BCE)
Nickname of 閔損 Min Sun; see separate entry
子路 Zilu (542-480)
Nickname of 仲由 Zhong You; see separate entry
曾子 Zengzi (505-436)
Nickname of 曾參 Zeng Shen; see separate entry
原思 Yuan Si (born 525 BCE)
Nickname (also 子思 Zisi) of 原憲 Yuan Xian; see separate entry
子賤 Zijian (宓子賤 Fu Zijian, born 521 BCE)
Nickname of 宓不齊 Fu Buqi; surname sometimes pronounced Mi; see separate entry

卷二 Folio 2
涓子 Juanzi (of 齊 Qi)
See separate entry.
(Also compare Qinshi Bu #24 Liu Juanzi and Xie Juanzi)
琴高 Qin Gao (21570.40)
See separate entry.
冠先 Guan Xian (1610.xx "Cap First")
A man of 宋 Song who understood Daoist arts. Once when fishing 宋景公 Duke Jing of Song asked him about this. When Guan Xian did not answer he had him killed. Later he was seen squatting on the gates of the city playing the qin. Weeks later he left. A temple was built in his honor. The entry includes a poem from the biography of Guan Xian by Liu Xiang in Liexian Zhuan.
楚商梁 Chu Shang Liang ()
Sometimes called 莊王 King Zhuang; see separate entry
師曠 Shi Kuang (Master Kuang), style name 子野 Ziye, a man of 晉 Jin
See separate entry
師襄子 Shi Xiangzi (9129.189); qin teacher of Confucius
See separate entry.
瓠巴 Hu Ba (21890.5 )
The story about Hu Ba playing the qin can be found in the book of Liezi. The story that he played the 瑟 se is in 荀子 Xunzi. Stories about Hu Ba are also in many other early sources.
Hu Ba was a man of Chu who was so good at playing qin that 鳥舞、魚躍 birds would dance and fish skip about. If harmony comes from the center and things are arranged on the outside, art reaches its highest level. It is also said that when Hu Ba played the 瑟 se zither hidden fish would emerge in order to listen. Perhaps he was equally good at playing the se.
師文 Shi Wen (9129.20)
(This account closely follows that of 列子唐文 Liezi, Tang Wen [Questions of Tang], which begins by saying that it was hearing Hu Ba [#33] play the qin that got Shi Wen interested in it.) A man of 鄭 Zheng, he left home to study qin with Shi Xiang (#32). Like Confucius he wished to continue after the teacher said he might as well stop. Shi Wen said he had not really been able to put his heart into it Later he returned saying he had learned. When he played the seasons changed: spring and fall reversed; winter and summer reversed. Shi Xiang then praised him.
鍾儀 Zhong Yi
41566.132 (ref. 尚友錄) and .133 (鍾儀楚奏, ref. 左氏成九) both tell of Zhong Yi as being a man of 楚 Chu captured by 鄭 Zheng and sent to prison in 晉 Jin, where he impressed 景公 Duke Jing (who seems to be the same person as 晉侯 the Marquis of Jin) by 操南音 playing Southern Airs from Chu, his homeland. Xu Jian in his Outline History, Chapter 1. A. (p.2), also relates the same story as here, adding that Zhong Yi was the first documented qin player. According to the Qin Shi biography of Zhong Ziqi, both he and Zhong Yi were from Chu and were related. Some stories that say Bo Ya was from Chu also say that he, as Zhong Yi here, spent time in Jin, though not as a prisoner and at least 24 years later, during the rule of Duke Ping (r. 557 - 531 BCE). The story of Zhong Yi told here is set in 581 BCE; there is a somewhat more detailed account in Zuo Zhuan, Duke Cheng (r. 589 - 572), 9th year (Legge, p. 371). Cheng was Duke of Lu, in Shandong province, but he had formed an alliance with the rulers of several other states, including Jin, to defend against an attack by 楚公子嬰齊 Gongzi Yingqi of Chu (Legge, p. 362). Because of this story Zhong Yi came to represent people who, though required to live elsewhere, never forgot their homeland.
Zhong Yi was a man of Chu who was imprisoned in Jin. (In 581 BCE) when the Marquis of Jin was visiting the military camp he saw Zhong Yi and asked what his clan was. Zhong Yi said he was a common singer. He took up his qin and played Southern Airs. The marquis said, "He is a gentleman." He then praised his work and his not forgetting his origins. His music had the old flavor of his region. So the marquis ordered him to be sent home. During times of disorder eminent people might work as ordinary musicians. If they are detained in a strong country they might survive.
師經 Shi Jing (5th c. CE)
Shi Jing (9129.168xxx) was music master (court musician) for 魏文侯 Marquis Wen of Wei (46879.18; Bio/2573; r. ca. 446 - 396; see also Dou Gong! Van Gulik gives his dates as 426 - 387). Marquis Wen is said to have been a cultured and sincere ruler, but he is also quoted as having said that he fell asleep whenever he had to dress up and listen to 古樂 ancient music. Stories similar to the one here are told in 十二國史 (see Qinshu Daquan, Folio 16, #9) and in Van Gulik, Lore, p.155, where Shi Jing tries to strike Marquis Wen because he has started dancing as Shi Jing played. Qin illustration 21 in Taiyin Daquanji shows what it says was Shi Jing's Overturned Cup (覆杯 Fu Bei) qin.
Shi Jing served Marquis Wen of Wei. Once he ordered Shi Jing to play the qin. (Shi) asked, "Order"? (Wen) said, When I speak no one dares to disagree. Isn't that joyful? Shi Jing then took his qin and tried to strike Marquis Wen, but he missed. Everyone around said, Execute him. Shi Jing said, I have heard that Yao and Shun were the sort of people who feared only that no one would contradict them. (On the other hand, the tyrants) 桀 Jie and 紂 Zhou were the sort of people who feared only that people would contradict them. I attacked someone like Jie and Zhou, not my own lord. Marquis Wen then released him and gave no further punishment.
In the olden days skill in the arts could be used to admonish (a superior.) Although this was the Warring States period, perhaps the custom was still the same. Marquis Wen could be like that. What a sage!
榮啟期 Rong Qiqi (5th c. BCE)
See separate entry
伯牙 Bo Ya (full name 俞伯牙 Yu Boya)
See separate entry
鐘子期 Zhong Ziqi
See separate entry
鄒忌子 Master Zou Ji
Master Zou Ji (40445.31 鄒忌 says Zou Ji was also called 田忌 Tian Ji, but there is confusion on this) is discussed in Shi Ji, Books 74 and 75 (see GSR VII, pp. 180 and 189). The story here, though, relates a story told in Shi Ji, Book 46. QSDQ has the same story, prefacing it by saying "In the 20th year of 威王 King Wei (336 BCE)", but saying that it is from 齊世家 Hereditary House of Qi. Shi Ji, p.1889, says 田敬仲完世家 Hereditary House of Tian Jingzhong Wan. Jingzhong was the posthumous name of 齊陳完 Chen Wan of Qi. I haven't figured out how 田 Tian becomes 齊 Qi. This part of Shi Ji is not yet translated
Zou Jizi was a minister of 齊威王 King Wei of Qi (r.356 - 320); his nickname was 成侯 Marquis Cheng.
Zou Jizi at first used his qin playing to gain audience with the king, who enjoyed it and so installed him in the 右室 apartments to the right. A while later the king himself was playing qin when Zou, hearing it from the doorway, came into the room and said, Such good qin playing! The king angrily put away the qin, picked up his sword, and said, You just saw my form and didn't examine carefully. How can you know it was any good? Zou Jizi (then followed with a discourse on the relationship of qin and 志 will, which saved him.)
(The author, Zhu Changwen [?], comments:) .....
雍門周 Yongmen Zhou
For Yongmen Zhou see separate entry; story concerns Lord Mengchang. The essay also discusses Han E.
韓娥 Han E (44126.231) was a contemporary of) Yongmen Zhou. While traveling east of Qi, Han E ran out of supplies and had to play and sing for money at Harmony Gate. The sounds resounded for three days after he stopped, so that people came complaining. In his sadness he played a 曼聲 Long Song and cried. People for one li around, young and old, were all sad. They cried and could not stop for three days. Quickly they ran to Han E and asked him to come back. Overjoyed, this time Han E played a Long Song which made everyone so joyous they couldn't stop dancing. Thus the local people became famous for singing and crying at the same time. (Later others studied this style. See Yongmen Zhou and also Sun Xi.)
子桑 Zisang (7072.361?).
Zhuangzi (see Chapter 6/61) praised Zisang. Zisang and 子輿 Ziyu (here referring to 孟子反 Mengzi Fan, not #24 Zengzi) were good friends. Once after there had been continuous frost for 10 days Ziyu said (to himself), "Zisang is dangerously ill." So he took food to his friend. Arriving at the gate he heard Zisang playing his qin and sighing that he couldn't stand it anymore. Ziyu rushed in to ask why he was so sad. Zisang replied that it was because he was poor and nothing could help him: it was fate. The writer adds that although Zhuangzi told many allegories, when he spoke of recluses they were often real people and he was commenting on their feelings.
屈原 Qu Yuan (ca. 340 - 278)
See separate entry
宋玉 Song Yu (ca. 290 - ca. 223)
See separate entry
卞和 Bian He (2825.15 - .7)
Bian He was a man of 楚 Chu who acquired a piece of uncut jade and gave it to the King of Chu, then was accused of trying to cheat him with a piece of ordinary stone; he thus had his feet cut off. Later it was discovered that it was true jade, and became known as Mr. He's 壁 bi disc. He wrote a 信立追怨之歌 Xin Li Chui Yuan Ge seen in Qin Cao (#12 of Cai Yong's Hejian Zage) telling of his honesty and loyalty to the prince. There was also a melody called Bian He Qi Yu. Someone once asked him why he didn't keep or sell the jade, and he discoursed on the necessity of loyalty.
牧犢子 Mu Duzi
Mu Duzi (20418.83 a man of 齊 during the Warring States period) was also called 犢牧子 Du Muzi. The melody here is called 朝飛 Zhao Fei (14705.127 朝飛操, Yuefu lyrics for qin melody), not Zhi Zhao Fei (also the title in YFSJ, Folio 57, #23.
Mu Duzi, still a batchelor at age 70, went out into the wilds to collect firewood. Seeing a male and female ring-necked pheasant flying together his emotions were stirred and he wrote Zhao Fei zhi Qu, included in Qin Cao. There is also a Mu Duzi zhi Ge....
商陵牧子 Shangling Muzi (3834.xxx/ Bio/2204)
The only reference quoted at Bio/2204 is an introduction to the melody 別鶴操 Bie He Cao (1955.175 -.177; Lament #9, also called .170 別鵠操 Bie Gu Cao), said to be from Qin Cao. A similar story introduces the Biehe Cao lyrics in YFSJ, Folio 58, #11 (pp. 844-7; see partial translation.) As here, these relate the story that after five years of marriage but no children Shangling Muzi was torn between the need to honor his parents, who wanted him to find a new wife in order to provide them with an heir, and his love for his wife. Observing her unhappiness over this led him to create Biegu Cao for the qin. The biography here ends by quoting the YFSJ lyrics on this theme by Han Yu.
Shangling Muzi was married but had no children. His parents wanted him to send away his wife (and get a new one). After his wife heard this she arose in the middle of the night and sadly leant against the doorway, sighing. So Muzi took out his qin and played it, creating the melody Bie He Cao. In order to manage this affair morally
霍里子高 Huoli Zigao (43291.32 Han dynasty)
Huoli Zigao was a recluse who worked as a ferry operator at 朝鮮 Chao Xian (14705.355 a district in China; also: Korea). One morning some dissolute men came wanting a trip. The ferry operator's wife asked her husband not to go across, saying he they would drown. She even took up a 箜篌 harp and sang her warning. However, he went ahead and they drowned (or the others drowned, or he hadn't gone yet?). She then sang of her misery and jumped into the river, drowning herself. Zigao, observing this, was very sad so he played a 箜篌引 Konghou Yin on the qin. This is the same as 公無渡河曲 the song Husband Don't Cross the River, and is said to be an allegory for a person who "drowns" in a confused society because of not maintaining propriety, etc. (He called his wife 麗玉 Beautiful Jade 48631.14. Konghou Yin is #7 of the Nine 引 Preludes in Cai Yong's Qin Cao.)
* 屠門高 Tumen Gao (7927.28/2xx) appended
Tumen Gao was a singer from 秦 Qin mentioned in Qin Cao. During the Qin period they took all the beautiful women and put them in the imperial household. There was great sadness so Tumen Gao wrote 琴引 Qin Yin (21570.12) as a protest against the situation. Although this is in Qin Cao (where it is #8 of the Nine 引 Preludes), it is not in Sima Qian's Shi Ji (#126) 滑稽傳 Biographies of Jesters, so it is not reliable.
龍丘高 Longqiu Gao
Yuefu Shiji, Folio 58, #15 is Prelude of Longqiu (龍丘引 49812.94), which it says is the same as Prelude of Chu (楚引 Chu Yin). The preface of Chu Yin in Qin Cao, where it is #9 of the Nine 引 Preludes, says it is by Longqiu Gao. Folio 58, #15 Chu Chao Yin is a poem by 吳邁遠 Wu Maiyuan, said to be on the same topic.
Longqiu Gao, a man of Chu, spent a long time as a guest and became weary of wandering. He thought of returning to Chu. His heart sad and without joy he played the qin and created Chu Yin to describe his observations and express his aims. Someone who thought of going home but didn't might be drafted into the army and incarcerated.
樗里牧恭 Shuli Mugong
Shuli Mugong (15735.4 Shuli: place/double surname + 20418.xx "Reverent Shepherd") is credited with a melody, Zou Ma Yin (37885.42) that is #6 of the Nine 引 Preludes in Cai Yong's Qin Cao. It is also Folio 58, #13 in Yuefu Shiji.
Shuli Mugong was a recluse looking for a chance to get revenge on his father's enemies. He fled into the mountain marshes. At night he heard a horse neigh and felt he was being followed by officials. The next day when he saw the horse's hoof prints he considered them to have been made by a celestial horse, and so he wrote 走馬引 Zou Ma Yin to capture the sounds he had heard. This has a fearful sound tinged with a righteous desire for revenge of which honorable men approve. (See also YFSJ p.847.)
* 聶政 Nie Zheng (29829.20) appended
Connected to Guangling San; see separate entry
三士 Three Gentlemen (其思革子 Qisi Gezi, 石文子 Shi Wenzi and 叔愆子 Shu Qianzi)
See separate entry
* 離須 Li Xu appended
See separate entry
* （楚）明光 (Chu) Mingguang also appended
See separate entry
衛女 Woman of Wei
Wei Nü (34896.8 says only "Young woman of Wei", then quotes Wen Xuan) would have lived in southern Shanxi. The melody Si Gui Yin discussed here is #4 of the Nine 引 Preludes in Cai Yong's Qin Cao. The preface to the Si Gui Yin in YFSG, Folio 58, #1 begins by saying it is also called 離拘操 Liju Cao. It then quotes Qin Cao, which calls the woman 衛賢女 the Virtuous Woman of Wei. The YFSJ lyrics by Shi Chong (石崇), which are set to music in the Si Gui Yin in Taigu Yiyin, are completely different from those here. Note also that #31 in Qin Shi Bu is a completely different 衛女 Wei Nü.
The Woman of Wei wrote Si Gui Yin. As seen in (Cai Yong's) Qin Cao the lyrics are,
"Bubbling waters from the spring flow into the 淇 Qi River; I cherish someone in Wei; there is not a day I don't think of him."
Now (#39 in) the Airs of the States (in the Shi Jing) has a Spring Waters poem with almost the same lyrics. Its preface says this is the story of a woman living at ther husband's home. He died and she wished to return home so she wrote these lyrics to express her feelings. (The introduction in) Qin Cao says 邵國 the Kingdom of Shao had forced her to be the wife of their king. When he died his son wanted to keep her as his own wife. She disagreed, dying instead. (Zhu Changwen adds that the two versions are different, but he does not have enough free time to reconcile the differences.)
百里奚妻 Wife of Baili Xi
The wife of Baili Xi (23193.190), perhaps knowing the stories of successful husbands having their poor country wives killed, approached him cautiously. The lyrics quoted here are the second of three lyrics on this theme in YFSJ, Folio 60, #20; compare Yan Yi Ge, which uses the first lyrics there.
The wife of Baili Xi helped him in their distress, but then when he became prime minister of 秦 Qin he forgot about her. After he had left home in search of office she had found work as a washer woman. On hearing of her husband's elevation she was afraid to present herself to him. However, she found an occasion to play the qin in his presence. The lyrics are
百里奚，初娶我持五羊皮。臨當別（行）時烹乳雞，今適富貴忘我為。 There were three verses all like this, and so (Baili Xi) realized this was his old wife (and they lived together happily ever after).
伯姬保母 The Governess of Boji
The governess of Boji was a daughter of 魯宣公 Duke Xuan of Lu. The song attributed to her, 伯姬引 Boji Yin (538.208), is #2 of the Nine 引 Preludes in Cai Yong's Qin Cao. A biography of Boji is in Lienü Zhuan.
The Governess of Boji wrote Boji Yin, to be found in Qin Cao. Boji was a woman of Lu married to 宋共公 Duke Gong of Song. (After 10 years) she was widowed, but she hereafter maintained her purity. In the 30th year of 魯襄公 Duke Xiang of Lu there was a fire in the palace. She was inside. An officer asked her to come out. Boji said, "I cannot. I have heard that if a wife goes out at night and does not see her tutor and governess, she should not leave the building. The tutor has arrived but the governess has not." So she died in the fire.... (The governess was sad and thus wrote this tune. Even hearing of this centuries later it will inspire women to be good.)
樊姬 Fan Ji (ca. 600 BCE)
A consort of King Zhuang of Chu; see separate entry
魯女 Lu Nü (Woman of Lu)
The Woman of Lu is also called 魯次室女 (47030.xxx; 16347.71/2 = 妾 handmaiden) Handmaiden of Lu. The melody quoted here, Upright Woman Prelude (正女引 Zheng Nü Yin) is #3 of the Nine Preludes in Cai Yong's Qin Cao, with the same story but a slightly different title (貞女引 Zhen Nü Yin. YFSJ has Zhennü Yin as Folio 58, #9, but with later lyrics. It has the lyrics below as Folio 58, #8, calling them 處女吟 Chaste Woman's Intonation.
The Woman of Lu, also called Handmaiden of Lu, had not married. She would lean against pillars and sigh. Her soul grieved for her country and was distressed for its people. People nearby suspected that her desire was to marry, so she felt distressed for herself. They still were suspicious so she ran off into the mountain forest. They saw that she was 正 upright. Sighing heavily from emotion she wrote 正女引 Correct Woman Prelude. The lyrics are,
菁菁茂木，隱獨榮兮....
"Leek flowers amidst dense trees, hidden lonely glory...." (10 x 4)
Zhu Changwen adds some commentary and mentions Qin Cao.
毛女 Mao Nü (17141.9)
See separate entry

卷三 Folio 3
漢高祖 Han Gaozu (劉邦 Liu Bang 247-194; r.206-194)
Gaozu, the first Han emperor, born in Jiangsu as 劉季 but better known as 劉邦 Liu Bang, was at first a minor civil servant. Around 209 BCE he became involved in a local rebellion against Qin Shi Huang, the tyrannical Qin emperor, then continued his opposition by joining with Xiang Yu. When Qin collapsed in 207 Liu Bang declared himself emperor, but Xiang Yu did not accept this and the two then spent the next four years struggling for power; in this Liu Bang was aided by his advisor Zhang Liang. After defeating Xiang Yu in 202 BCE Liu Bang still had to engage in military campaigns against local and foreign powers. The biography of Qin Shihuang mentions a 13 string qin Liu Bang found in Xiangyang Palace.
Zhu Changwen's biography basically quotes a story set in 195 BCE, shortly before Liu Bang's death, taking it directly from Shi Ji Chapter #8 (see RGH I, p.81ff). It then comments briefly on several points, mentioning first the 筑 zhu, a 5-string zither plucked with a stick. (It is no longer played. See also another story about the zhu/qin.) The two melodies mentioned are The Great Wind Arises (大風起 Dafeng Qi; 5960.xxx, but it is in 僧 Seng's list of qin melodies, and 5960.786 大風歌 Dafeng Ge references the Shi Ji story) and The Great Sound Reaches the World (號令及天下 Haoling Ji Tianxia 33525.9xx).
Han Gaozu, 13 years years after having finished off the wicked Qin emperor, was traveling through Pei but stayed a while. He served up wine in the the Pei Palace, calling in old friends and their fathers, sons and brothers and 佐 serving them wine. He brought forth the children of Pei, getting 120 of them, and taught them to sing. When everyone was feeling mellow from the wine the emperor began to play the zhu 5-string zither, and he sang a song he had written whose lyrics went,
A great wind has arisen and clouds are fly by overhead.
My strength covers everything all the way to the sea, but I have returned home.
From where will I get brave men, who will guard us in all directions.
He told the children all to practice this with him. The emperor then got up and began to dance. He was overcome with emotions, both sad and nostalgic, and his tears came flowing down. He then said to the 父兄 fathers and brothers of Pei, "Travellers think sadly of their old homes. Although I have made my capital on this side of the mountain pass, after my long life is over my spirit with happily think of Pei.
(End of quote from Shi Ji) The zhu resembles a qin, so later people transmitted it. The silk-string melody called A Great Wind Arises, is the same as The Great Sound Reaches the World. "Clouds flying by overhead" means "enriching the lives of the people." "Where will I get brave men to guard us in all directions" means that he was mourning the fact that all within the seas was not yet peaceful.
Wang Tong said, The Great Wind suggests that he was not going to forget about danger.
漢元帝 Han emperor Yuandi (劉奭 Liu Shi, 75-32; r.48-32)
Han Yuandi succeeded his father 劉詢 Liu Xun (宣帝 Emperor Xuandi, r.73 - 48), who was canonized as 孝宣 Xiao Xuan. The account here suggests that Yuandi favored as his successor his son by 傅昭儀 Fu Zhaoyi, 劉康 Liu Kang, referred to here as 定陶王 Prince of Dingtao (see 7256.125 定陶共王). However, he is thwarted by his consort Empress Yuan (see next) through the arguments of his Palace Attendant 史丹 Shi Dan who, among other things, speaks sarcastically of two skilled musicians, 陳惠 Chen Hui and 李微 Li Wei. As a result his son by Empress Yuan, 劉驁 Liu Ao, became emperor Chengdi; this led to the catastrophe with Zhao Feiyan.
Yuandi succeeded Xiao Xuan. Virtuous, learned and talented, he was skilled in history, played the qin and se zithers and the dongxiao flute....
元后 Empress Yuan (1st c. BCE)
Empress Yuan (1356.158/3) was consort of Emperor Yuandi, mother of Emperor Chengdi, and aunt of "The Usurper" 王莽 Wang Mang. She was also called 王正君 Wang Zhengjun (see Xu Jian, Chapter 2.A. [p.13]).
Empress Yuan had the family name Wang. Her father was 王禁 Wang Jin, her mother was from the family of prefect 李 Li of 趙 Zhao. When she was young an auspicious oracle predicted for her great wealth. This led her parents to have her study writing and qin. During the period 57 - 53 she was offered to 宣帝 emperor Xuandi (劉詢 Liu Xun, ca.90-49; r.79-49). Then 18, she instead married 劉奭 Liu Shi, who became emperor Yuandi, and was mother of 成帝 emperor Chengdi. Perhaps she was able to rise to such heights because of her artistry.
* 趙后 Empress Zhao (Zhao Feiyan; 1st c. BCE)
Empress Zhao, better known as 趙飛燕 Zhao Feiyan, became the favorite consort of Han emperor Chengdi (r. 32 - 6 BCE, son of Yuandi and also called 孝成 Xiao Cheng), supplanting Ban Jieyu. The article in Qin Shi compares Zhao with two earlier concubines said to have brought disaster to their countries, 褒妲 Bao Da (35241.16, Giles: the efforts of 周幽王 King You of Zhou [r.781-770] to make her smile brought disaster) and 妲己 Da Ji (6298.1, Giles: as concubine of 紂辛 Zhou Xin, the last Shang ruler, she encouraged his debauchery.) Zhao Feiyan is also discussed in Xu Jian, Chapter 2.A. (pp. 13-4), and she has an entry in the Lienü Zhuan. She is said to have had a qin named Feng Huang.
Xiao Cheng's Empress Zhao was (daughter of a musician named 馮萬金 Feng) Wanjin. She was trained to sing and dance. Summoned to the palace she had the good fortune of becoming empress. She was also good at playing the qin, in particular 歸風送遠之操 the melodies Gui Feng Song Yuan (16714.124; Returning Wind Sending One Afar; perhaps this was two melodies [#]). She had a valuable qin called 鳳凰 Fenghuang (Phoenixes) with gold and jade.... In the end she was the Han dynasty's counterpart to Bao and Da, so it is said.
四皓 Si Hao (Four Hoaryheads, 3rd c. BCE)
The Four Hoaryheads were 東園公 Dongyuan Gong, 綺里季 Qili Ji, 夏黃公 Xia Huanggong and 甪里先生 Luli Xiansheng. The Melody of Collecting Mushroms (採芝操 12564.17) mentioned here is Folio 58, #23 in YFSJ (p.850). The entry also mentions 遯世 dun shi, but no connection has been made yet with Dun Shi Cao.
The Four Hoaryheads were Dongyuan Gong, Qili Ji, Xia Huanggong and Luli Xiansheng. These four men, during the Qin dynasty, fled from society to the 商雒 Shang Luo mountains, where picked mushrooms for food. As a result there is the Melody of Collecting Mushrooms. When (the first Han emperor) Gaozu summoned them to the capital they would not go. After this Empress Lü used a plan by Marquis Liu (to come to the capital and persuade the first Han emperor to pass on the throne to his legitimate heir)....(incomplete).
竇公 Dou Gong (26273.8)
If Dou Gong was really music master for 魏文侯 Marquis Wen of Wei (ca. 446 - 396, see Shi Jing!) as well as for Han emperor Wendi (r.141-87), he lived to the age of 280, not 180 as stated here. He is connected here to melody called 臣導引 Chen Dao Yin (30739.xxx).
Dou Gong served Marquis Wen of Wei as music master, so that by the time of Han emperor Wendi he had lived 180 years. When Wendi asked him about this (Dou Gong) answered, "When I was 13 years old I lost my sight. My parents were sad. I couldn't learn an ordinary talent so they taught be to play the qin....
周太賓 Zhou Taibin
Zhou Taibin (3597.xxx) is said to have taught 孫登 Sun Deng (teacher of Xi Kang), then returned to 蓬萊 Penglai. Juqu (Gouqu?) Mountain, in Jiangu province, was later called 茅山 Mao Shan; it was famous as an abode of immortals.
Zhou Taibin studied Dao during Qin dynasty from 姜叔茂 Jiang Shumao, the lord of 巴陵 Baling, and lived at 句曲山 Juqu Mountain....
馬明生 Maming Sheng (Mr. Horse-neigh)
Maming Sheng (compare 45550.308 馬明王 Silkworm Deity 蠶神); the one string qin (一絃琴 1.2507) is also discussed with Liu Bing and Shi Yan. QSDQ Folio 17, has several accounts of playing one-string qin, including a brief version of the present story. Qin illustration 31 in Taiyin Daquanji shows a qin named Four Peaks (四峰 Si Feng), saying it was made by Maming Sheng.
Maming Sheng followed a 神女 Divine Woman into a stone room with a golden bed and jade bench. He played a one string qin, producing all five sounds, expressing the strange nature of this immortal's home.
稷丘君 Master Jiqiu
See separate entry
淮南王安 Prince An of Huai Nan; proper name 劉安 Liu An (d. 122 BCE)
See separate entry
司馬相如 Sima Xiangru (179 - 117)
See separate entry
張安世 Zhang Anshi (d. 62 BCE)
Zhang Anshi (Bio/1276; 10026.258; should be 慶安世 Qing Anshi 11407.xxx ?), style name 子孺 Ziru, served several Han emperors. His only qin connection seems to be the attribution to him of the two melodies listed as #2 and #3 of the Hejian Yage in Qin Cao. The two melodies were called Pair of Phoenixes (雙鳳 Shuang Feng; 43067.297 quotes Xijing Zaji saying Shuang Feng Li Luan is/are qin melodies by 慶安世 Qing Anshi, who at 15 became an 侍郎 Attendant Gentleman under Chengdi [r.32 - 8]) and Departing Luan Birds (離鸞 Li Luan; 43079.196, as above but mentions 瑟 se). They are also sometimes written as one title, and Shuangfeng Liluan became a metaphor for a lost lover.
Zhang Anshi, style name Ziru, was a son of the Chief Censor 張湯 Zhang Tang. When 15 years old, (Zhang Anshi) became an 侍中 Palace Attendant (in the court of Wudi, r. 140 - 86). An excellent qin player, he could play the melodies Shuang Feng and Li Luan. (In 115) he was enfeoffed as 富平侯 Marquis Fuping, (then later) became 衛將軍 General of Wei.
師中 Shi Zhong (3rd/2nd c. BCE)
Shi Zhong (Bio/xxx; Xu Jian, p.12) was a qin player at the court of Emperor Wudi (r.140 - 86) in Chang'an. He then returned home to Pi in northern Jiangsu province. Over 100 years later Liu Xiang wrote in a Bie Lu that there were still many qin players in that area. His qin book 師氏八篇 Shi Family, 8 Volumes, is #5 in QSCM (雅琴師氏八篇 Elegant Qin of the Shi Family).
Shi Zhong was 東海下邳人 from Pi, below Donghai. He carried on the (qin) tradition of 師曠 Shi Kuang after him. He played the elegant qin very well. The 漢志 Han Annals have a (book called) Shi Family, 8 Volumes, written by him. It is also said that Shi Zhong played for Han emperor Wudi, using the qin to send up memorials. He then returned to Pi. Because of him many people liked the qin.
趙定 Zhao Ding (1st c. BCE)
Zhao Ding from 渤海 Bo Hai was a qin player in the court of Han emperor Xuandi (r. 73 - 48). He wrote 雅琴趙氏十篇 Elegant Qin of the Zhao Family, 10 Volumes (QSCM #4 says 7 volumes).
(His biographical sketch is combined with that of Long De; see next.)
龍德 Long De
Long De, from 梁國 the Liang kingdom, wrote 雅琴龍氏九十九篇 Elegant Qin of the Long Family, 99 Volumes (QSCM #6). Qin Shi quotes a comment about him from Liu Xiang without naming the source.
Zhao Ding was from Bohai and Long De was from the Liang Kingdom. During the period 61 - 57 BCE ....
劉向 Liu Xiang (77-6 BCE)
See separate entry
* 揚雄 Yang Xiong (53 BCE-18 CE)
See his separate entry in Qin Shi Bu. He is mentioned only briefly in Qin Shi.
王昭君 Wang Zhaojun (1st c. BCE)
Nickname of 王嬙 Wang Qiang; see separate entry
宋勝之 Song Shengzhi (7230.288); d.45 BCE
Orphaned young, Song Shengzhi went from 南陽安眾 Nanyang to 太原 Tai Yuan then wandered the country herding sheep. He entertained himself by doing calligraphy and playing the qin. Hearing of his great virtue various people tried to get him into their government, but he preferred herding sheep. (See Berkowitz, Patterns of Disengagement. Qin illustration 33 in Taiyin Daquanji shows his 蟬翼 Cicada Wings Qin.)
桓譚 Huan Tan (ca.43 BCE - 28 CE)
See separate entry
劉昆 Liu Kun, d.57 CE
Liu Kun (compare #90), was from 陳留東昏 Donghun in Chenliu (near Kaifeng in Henan) and a descendent of 劉武 Liu Wu (a brother of Han Jingdi, he was 梁孝王 Prince Xiao of Liang from 168 to 144). His 清角之操 Qingjiao melody was also played by Shi Kuang. Loewe: He was a skilled musician who taught many students during the inter-regnum of Wang Mang. He had such a following that Wang Mang arrested him. After Wang Mang's defeat he was for a while a recluse, later serving Emperor Guangwu.
Liu Kun, style name 桓公 Huan Gong, was from Donghun in Chenliu and a descendent of Prince Xiao of Liang. At an early age he was used to the demeanor of propriety and could play the elegant qin, knowing the Qingjiao melody. During the time of the Han Guangwu emperor Laozi and Confucius were honored and people were loyal to the state. No one had heard a Qingjiao melody since Shi Kuang. There were those who knew it, but (Liu) Kun understood it. It was the most eminent of all music. Since Kun those who know it are very rare. This is unfortunate.
梁鴻 Liang Hong, style name 伯鸞 Boluan (1st c. CE; 15135.295)
Liang Hong, from 平陵扶風 Pingling in Fufeng district (across the river and west from Chang An), was a gentleman who enjoyed solitude. With his wife 孟光 Mengguang (biography in Lienü Zhuan) he went into 霸陵山 Baling Mountain where for a living he farmed and she weaved. They 誦書詩彈琴 chanted poetry and played the qin to amuse themselves. As a result their whole lives were peaceful. To be employed and not 屑祿仕者 perhaps increased their enjoyment. (Giles: Liang Hong was a poor scholar who supported himself by raising pigs. His honesty earned him many offers of marriage but he selected a fat and ugly girl who was unmarried at 30 because she had been waiting for a man like him. She was strong but deferential. Later on when passing through the capital Liang Hong wrote a poem Song of Five Belches (五噫歌 Wuyi Ge 262.1049 has the lyrics). This so enraged 肅宗 emperor Suzong (r.76-89) that Liang Hong had to flee with his wife to Shangdong, where they lived with a wealthy family.)
馬融 Ma Rong (79-166)
Ma Rong (45550.818; see also Giles, ICTCL, and Knechtges Wen Xuan III) was a scholar-official from a powerful family. Well-known for his commentaries on ancient texts, he was also an unconventional but upright official under several emperors. His critical comments once led him to be suspended for 10 years but he was eventually made governor of the Hubei region. His chief pupils were 盧植 Lu Zhi (ca. 159 - 192; Bio/386; he tutored Liu Bei) and 鄭玄 Zheng Xuan. He was important in the development of 古文 ancient text commentary, and introduced the system of putting such commentary in double columns. He wrote a 長笛賦 Rhapsody on the Long Flute, and is said to have written a 忠經 Classic of Luoyalty.
Ma Rong, style name 季長 Jichang, was from 扶風茂陵 Maoling in Fufeng district. Great in talent, 博洽 (amiable?), known in his day as the 通儒 Universal Scholar. He taught many students, often having thousands. He was especially good at playing qin, enjoyed playing di flute.... Wrote a 琴賦 Qin Fu (see Qinshu Daquan, Folio 18 #2 [very short]) and perhaps a 琴歌 Qin Ge, now lost.
蔡邕 Cai Yong (133-192), style name 伯喈 Bojie
See separate entry.
蔡琰 Cai Yan, daughter of #77 Cai Yong
See separate entry.
* 陳脩明 Chen Xiuming (42618.xxx) appended; compare Chen Xiu
During the Han period there was in Kuaiji a woman named Chen Xiuming who was a good qin player. She studied from a 虞李氏 Mr. Li of Yu (33531.??) who had many beautiful sounds for teaching women. She had a son 由 You (陳由 ? 42618.xxx; 22221.xx). When You was 20 he was said to be famous as an artisan. This was heard by a master in the capital. His mother was not happy at this. She said, When You is 50 or 60 he can be an artisan. You died young. Qin Dao does not include his mother....?
杜夔 Du Kui (<188 - after 220)
Du Kui (14796.381 quotes 三國志 San Guo Zhi #29), style name 公良 Gong Liang, was from Henan. He was familiar with 聲律 the rules governing sound and was more intelligent than others. As for 絲竹八音 all sorts of music, there was nothing he was unable to do. During the Three Kingdoms period he served as 太樂令 Music Director for the Wei court (in Luoyang); his ancestors had already held this rank. 古樂 Old music began with Du Kui. The emperor was once accompanying his guests and wanted the sheng mouth organ blown and the qin played. Du Kui expressed reluctance. The emperor was very angry and used another matter to dismiss Du Kui. It is also said that Du Kui was an expert on Guangling San and so Xi Kang studied it from Du Kui's son 杜孟 Du Meng. (杜猛? See Xu Jian, QSCB Chapter 3.A. (p.25.)
孫登 Sun Deng (no certain dates)
Style name 公和 Gonghe (see separate entry)
阮瑀 Ruan Yu (d. 212)
See separate entry
阮籍 Ruan Ji (210 - 263)
See separate entry
阮咸 Ruan Xian (3rd c.)
See separate entry; nephew of Ruan Ji.
阮瞻 Ruan Zhan (ca. 281 - ca. 310)
See separate entry; son of Ruan Xian.
季流子 Ji Liuzi (7115.xxx)
This biography is extracted from an essay #81 Ruan Ji wrote in his Yue Lun (full version is in Qinshu Daquan, Folio 16, #56
As for Ji Liuzi, it isn't known when he lived. Ruan Ji discussed him (as follows).
He would play the qin facing the wind. Listeners would cry until their clothing was damp. Students said he was good, but he said the best music was not that which made people 哀傷 very sad. The most important role of music is to 和 help people get along....
嵇康 Xi Kang (or Ji Kang), style name 叔夜 (223-262)
See separate entry
嵇紹 Xi Shao (253-304 CE)
Xi Shao (or Ji Shao, 8500.13; Bio/2307), style name 延祖 Yanzu, was a son of 魏中散大夫嵇康 Xi Kang. Orphaned when he was 10, he died defending 晉惠帝 Emperor Huidi (r. 290 - 307) of the Eastern Jin dynasty (265 - 317; capital in Luoyang). The essay tells of 董艾 Dong Ai (32204.xxx) and 齊王冏 Prince Jiong of Qi (49553.26, same as 司馬冏 3306.178 Sima Jiong [Bio/480; d. 303], one of the five princes of 晉 Jin) trying to order Xi Shao to play the qin. He declines, saying one cannot order such things....
顧雍 Gu Yong (168 - 243)
Gu Yong (44649.247; Bio/1888), style name 元歎 Yuantan, lived in Nanjing when it was the capital of 吳 Wu, during the Three Kingdoms period (孫權 Sun Quan was reigning emperor of Wu). #77 Cai Yong was also there, having come from 朔方 Shuo when the fall of 董卓 Dong Zhuo put him in trouble. Gu studied the qin and calligraphy with 蔡邕 Cai Yong. Concentrating on this he learned so quickly that Cai honored him by giving him his own name (邕 and 雍 are both pronounced "Yong"). And Gu Yong's style name came from the praise Cai Yan gave him. Cai predicted great success for Gu Yong, and sure enough he became an important figure in the government of Sun Quan.
顧榮 Gu Rong (270-322 CE)
Gu Rong (44649.269), style name 彥先 Yanxian, was from Wu. He was a grandson of #86 Gu Yong. Because of his skills 晉元帝 the Jin emperor Yuandi (r.317-322) gave him a military position. (He rose to a high rank.) He became a good friend of #88 Zhang Han. He once told Han that when he enjoyed wine he could forget his troubles, but that this didn't work because he would get sick. He had been a good qin player, and when he died family members would often extend a qin across the death tablet. Zhang Han cried in this sadness, then played several melodies on the qin by his bed. As he played he sighed, saying, Gu may or may not be able to appreciate this. So he grieved some more.
張翰 Zhang Han (c. 258 - 319)
Zhang Han (10026.1374), from 吳郡 the area around Suzhou, was (see Giles:) "a poet under the 晉 Jin dynasty (capital Luoyang), who took office with Prince 冏 Jiong of Qi (in Shandong; see #85) but resigned because he could not do without the salad and fish of 松江 Songjiang (a river south of Suzhou) in Jiangsu.... He professed to despise all worldly honours and said that he would rather have one cup of wine during life than any amount of fame after it. He was however a model of filial piety, and found time to write essays and poems that were highly esteemed in his day (but for the most part have not survived)."
Zhang's own entry here has no direct reference to his playing the qin, but biography #87, Gu Rong, does. In addition the present biography, after quoting an exchange between Zhang and Gu Rong (see again #87), mentions the inspiration Zhang Han once took from autumn winds. The afterword to the melody Autumn Wind (Qiu Feng 秋風 25505.223) in the handbook Xilutang Qintong (1549 CE) says Zhang Han created this melody after hearing an autumn wind rising; some related poetry is included there in a footnote. See also He Xun.
Zhang Han, style name 季鷹 Jiying, was (wild in youth, and thus) nicknamed by his contemporaries 江東步兵 the Wandering Soldier from East of the River. Prince Jiong of Qi made him a military officer of 東曹掾 East Cao. When Jiong ordered him into government, Zhang Han then said to Gu Rong, "The world is unceasingly disorderly and disastrous. Whatever famous people there are do not want to be officials. I am also a recluse. I have no desires from these times. You had clear vision and got out...." Gu Rong sorrowfully said, "Like you I have also decided to live in 南山 South Mountain eating and drinking from the three rivers." Because Zhang Han saw an autumn wind arising he thought of the 菰菜 gu plant and the 鱸魚 sea perch, and so told (the messenger?) to ride off. He did whatever he wished. If one isn't appropriate to the times, one will be sad until death.
卷四 Folio 4
謝安石 Xie Anshi; style name of 謝安 Xie An (320-385; 36661.57/2)
See separate entry.
劉琨 Liu Kun (d. 317 CE)
Liu Kun (2270.830; compare #74) is discussed in QSCM, Chapter 3.A. (p.29). From northeast China, he had high military rank under several 晉 Jin emperors. He once defended 晉陽 Jinyang against the "Tartars" by playing on the Tartar pipes from a tower in the moonlight. They became homesick and left. Some say he wrote 胡笳五弄 Five Blasts on the Nomad Reed Pipe (compare Xiao Hujia and Da Hujia) as well as the so-called 登隴 Deng Long, 望（秦） Wang (Qin), 竹吟風 Zhu Yin Feng and 哀松露 Ai Song Lu, and 悲漢月 Bei Han Yue (these five titles are found in a qin melody list included with the You Lan manuscript). Zhao Yeli later revised these melodies so that they survive today.
Liu Kun, style name 越石 Yueshi, was a native of 魏昌 Weichang in 中山 Zhongshan. During the discorders of the Yongjia period (307 - 313) had high military rank....(7 lines)
袁準 Yuan Zhun (3rd c. CE)
Bio/1835; 34953.185 Yuan Zhun, style name 孝尼 Xiaoni, was from 陽夏 Yangxia (modern 太康 Taikang) in 陳郡 Chenjun (eastern Henan province). The -ni 尼 in early sources became -si 巳 in SQMP and later sources; Zha Fuxi's index changes it to yi 已 . Xiaoni was a noted author and Confucianist who rose to the position of Palace Steward. He was a son of 袁渙 Yuan Huan, who had served under Cao Cao, and a relative of Xi Kang. SQMP's preface to Guangling San quotes Qin Shu as saying Xiaoni was Xi Kang's 甥 nephew. Van Gulik (Hsi Kang, p.36) says they were brothers-in-law. Qin Shu in QYYL does not specify the relationship, nor does the account here in Qin Shi.
Yuan Zhun, style name Xiaoni, was from Chenjun. He enjoyed playing the qin when young, constantly visiting (his relative) Xi Kang in order to learn Guangling San. (When Xi Kang refused to teach him he listend secretly when Xi Kang was playing it in the middle of the night. In this way he learned part of it, particular 廣陵止息 Guangling Zhixi.)
王徽之 Wang Huizhi (d.388 CE; 21295.1950)
Style name 王子猷 Wang Ziyou; see separate entry.
三戴 San Dai: The three Dai (four?): 戴逵 Dai Kui, 戴述 Dai Shu, 戴勃 Dai Bo and 戴顒 Dai Yong
See separate entry.
陶淵明 Tao Yuanming
Style name of 陶潛 Tao Qian (365-427); see separate entry.
賀韜 He Tao (37569.xxx)
He Tao, 橫陽令 a commander at Heng Yang (near the southern Zhejiang coast), was a good qin player. At one time there was a 防風鬼 "wind-guard"(?) ghost frequently seen in the city. Often it would tiptoe on the Thunder Gate with its feet hanging down to the ground. When it heard qin sounds from He Tao's courtyard it would suddenly start dancing, 亦異事也 also a strange matter.
公孫鳳 Gongsun Feng (1480.447)
Gongsun Feng, style name 子鸞 Ziluan, was from 上谷 Shanggu (in Hebei on the northwest side of today's Beijing); his dwelling place in the 九城山 Jiucheng Mountains of 昌黎 Changli (modern 義州 Yizhou) would be in Liaoning province to the east. This region was then under the rule of the Eastern Yan dynasty (see next); 慕容暐 Murong Wei (350-385) was one of its rulers.
Gongsun Feng, style name Ziluan, was a man from Shanggu who secluded himself in the Jiucheng Mountains of Changli during the Former Yan dynasty. He played the qin, chanted and sang happily. No one could fathom it. Murong Wei sent the sort of chariot used to honor statesmen to summon him, but Gongsun would not come out. He died of illness at an advanced age. (3 lines)
段豐妻 Wife of Duan Feng (16987.xxx; Bio. xxx)
Bio/2438 refers to the wife of Duan Feng as 慕容氏 Murong Shi ("maiden name Murong"), a daughter of 慕容德 Murong De (336 - 405, Bio/2439). 慕容 Murong was a royal family name within the Turkic 鮮卑族 Xianbei clan. In 352 慕容雋 Murong Jun (319-360), then prince of Yan, proclaimed himself emperor of what became known as the 前燕 Former Yan dynasty; its capital was at 鄴 Ye (today's 安陽 Anyang, southern Hebei). Murong Jun's third son 慕容暐 Murong Wei (350-385, see previous), is said to have been from 昌黎棘城 Jicheng in Changli (modern 義州 Yizhou in Liaoning). He succeeded his father in 360. In 400 Murong De, a brother of Murong Jun, proclaimed himself emperor of Southern Yan (now in Shandong province). His daughter, also said to be from 昌黎棘城 Jicheng in Changli, was married to Duan Feng in "年14" (the 14th year). The story told here seems to be an abridgement from 晉史列女 Virtuous Women in the Jin Annals.
The wife of Duan Feng was Miss Murong, daughter of Murong De. She was a woman of many talents, being 善書史 good in classical literature and able to play the qin. She married young. The person she married was slandered and killed. Her father ordered her to get married again, but instead she killed herself. She is one of the Virtuous Women in the Jin Annals. (2 lines)
王微 Wang Wei, style name 景玄 Jingxuan (415 - 453; 21295.1548/1)
(From 琅邪臨沂 Linyi in Langye [Shandong]), Wang Wei was great grandson of the 晉 Jin chief minister 王導 Wang Dao (276 - 339). As a youth he was a good student and understood music, but he was not willing to be an official. He was especially good at the qin and wrote prefaces to qin tablature that are unfortunately lost.
* also 王僧祐 Wang Sengyou, style name 嗣宗 Sizong (21295.1654)
Wang Sengyou, Wang Wei's nephew, (was a high ranking military official) during the 南齊 Nan Qi period (479 - 502). He was good at Zhuangzi and Laozi and an excellent qin player. His cousin (the scholar-official) 王儉 Wang Jian (452 - 489) greatly respected him. Once Qi emperor Gaodi (r.479-483) ask Wang Jian why his cousin seemed to be a recluse from the government. Wang Jian replied that his cousin was not a braggart who said he was better than other people, but simply enjoyed relaxation; in addition he had many illnesses. Wang Ziliang (i.e., 竟陵[文宣]王蕭子良 Xiao Ziliang, Prince Wenxuan of Jingling in southern Hubei, 460 - 494; see also #109 below) heard he was a great qin player and tried to induce him into office, but he refused. (Yet) he died as 黃門侍郎 Huangmen Shilang (?).
王僧虔 Wang Sengqian (425-485; 21295.1655)
Wang Sengqian 以文情學解見重江表 used essays and sentiments study explain, with emphasis south of the Yangzi River (?). (Gaodi), the first (Qi) emperor (r.479-482) once held a tricky sort of banquet (at the Hualin Pavilion in Nanjing 華林園?) where all the attendants had to exhibit their artistic skills. Wang Qian's nephew 王儉 Wang Qian (420-489) recited from the 封禪書 Feng Shan Shu (Chapter 28 of the Shi Ji, The Feng and Shan Sacrifices). 褚淵 Chu Yuan (35259.34) played the pipa lute. 沈文季 Shen Wenji (17529.17) sang. 張恭兒 Zhang Gong'er (10026.791xx) danced. Only Wang Sengqian played the qin.... (Wang Sengqian was also an expert on music theory and practice, discussing this in his 古今技錄 Gujin Jilu.)
謝莊 Xie Zhuang (421-466)
See separate entry; style name 謝希逸 Xie Xiyi
沈道虔 Shen Daoqian (368 - 449; 17528.xxx)
Shen Daoqian was from 吳興武康 Wukang in Wuxing (north of Hangzhou). He secluded himself at 石山 Rocky Mountain in the north of his district with all of his orphaned brothers. Together they prepared all their own food. They couldn't find a solution to their difficulties. They received a qin from Dai Kui (#93 above). Ten times the local commander order them out (to take office), but they refused. When Shen Daoqian was old he often did not have more than one day's supply of food on hand, but he was happy with just his qin and calligraphy, and worked at them energetically. He died age 92.
宗炳 Zong Bing (375-443)
Style name 宗少文 Zong Shaowen; see separate entry
蕭思話 Xiao Sihua (406-455; 32667.218)
A man of 南蘭陵 South Lanling (2798.776 in Jiangsu, NW of Taihu), as a youth he occupied himself ( 博誕 boasting of?) wandering in many places, but he also a good student and worked at qin and calligraphy. He advanced into powerful positions, becoming 侍中大衛將軍 a general in the imperial guard. He once accompanied 太祖 the first ruler of the Liu Song dynasty as he climbed the northern cliff of 鍾山 Zhongshan Mountain (in Nanjing). Along the road there was a big boulder by a clear spring. Told to play the qin on top of the boulder, he gave him a silver wine cup and said, It makes me think of elevated thoughts I have had of pines and rocks. (Xiao) was killed while guarding 西郢州 Western Yingzhou (Wuhan?). Sihua was related through marriage (to the royal family) and was a loyal official, but he didn't stop studying elegant sounds. This was wonderful.
二柳 The two Lius: 柳世隆 Liu Shilong (442 - 491) and his son 柳惲 Liu Yun (465 - 517)
Also mentions another son, 柳惔 Liu Yan (462 - 507); see separate entry
柳遠 Liu Yuan (509 - 539)
And his younger brother 柳諧 Liu Xie (503 - 528); see separate entry
鄭述祖 Zheng Shuzu, style name 恭文 Gongwen (485 - 565; 40513.232)
Zheng Shuzu was man of 滎陽開封 Kaifeng who served the 北齊 Northern Qi (550 - 577, capital city in northeast Henan). His virtuous and elevated thoughts were respected. During a time at the beginning of the 天寶 (天保 550 - 560) Tianbao period he advanced from the 少師 Shaoshi (7834.152 type of official tutor?) to the heir apparent, to (儀同三司 Yitong Sansi [a military rank]), then to governor of 兗州 Yanzhou (western Shandong area, a position his father once held). He could play the qin and himself created (a set of melodies called) 10 Sets of Dragon Intonations (龍吟十弄 Long Yin Shinong 49812.163/2). He said that once he had dreamed of a man playing the qin; when he awoke he wrote down (the melody). People at the time thought it was most beautiful. He died (as governor of 光州 Guangzhou) in northeast Henan.
Chu Yanhui (435 - 483)
褚彥回 Chu Yanhui (style name of 褚淵 Chu Yuan, 435 - 483; 35259.34, from 陽翟 Yangdi in Henan) was the son of the Liu Song dynasty's 丹陽尹 Danyang ruler (褚)堪之 Chu Kanzhi. (Giles: Son of a Song dynasty princess, as one of the 四貴 Four Regents he helped the chief regent 蕭道成 Xiao Daocheng make himself emperor of the new 齊 Qi dynasty [479 - 502], at which point Chu Yanhui became Minister of Works). 少有履操美儀貌 When young he acted with beautifully correct manners, and the good demeanor in his manner and deportment was obvious. People at that time 方之 imitated him(?). 何平叔 He Pingshu (? 489.xxx) once assembled 袁粲 Yuan Can (420 - 477) (人over吉?) on a cool evening at the beginning of autumn. The wind and moon were very beautiful. Chu Yanhui took his qin and played Bie Gu Cao. As he played the notes their deportment became joyful. (#100) Xie Zhuang as he sat beat out the rhythm and said, Using a carefree spirit I accompany the instrument of the 道 Dao. The notes suddenly leave and cannot be obtained. Also, Chu Yanhui and Yuan Can had the responsibility of raising the orphaned son of the Song Mingdi emperor (r.465 - 473), but they sided with (Xiao Daocheng, who became the) Qi Gaodi emperor and 害 killed (the child). Yuan Can 義士非之 (remained loyal and wouldn't do it.) (35259.35 has a story about Chu Yanhui seeing off #99 Wang Sengqian, then governor of 湘州 Xiangzhou.)
沈麟士 Shen Linshi, style name 雲禎 Yunzhen (419 - 503; 17529.656)
Shen Linshi (also 驎士) was from 吳興武康 Wukang in Wuxing (as was #101 above). During the Liu Song (420 - 479) and Qi (479 - 501) periods Shen was summoned to the court but he wouldn't respond. Instead he lived in hiding in the 餘干吳差山中 (corrected from "餘不缺缺山中" in original) Wucha Mountains of Yugan (district in Jiangxi). He discussed the Classics and imparted teachings. His students numbered in the thousands (elsewhere says "hundreds"). He often leaned on his common bench playing his plain qin. He did not play new sounds. He died age 85. (He also wrote some poems and books. Giles: He was so poor he had to spend most of his youth repairing door screens. He managed to educate himself, though he was still called 織簾先生 Mr. Screenweaver. Eventually he retired to a mountain in Jiangxi where he had hundreds of students but still gathered his own fuel and drew his own water.)
杜棲 Du Qi, style name 孟山 Mengshan (464 - 499)
Du Qi, from 錢塘 Hangzhou, was the son of the lofty gentleman 杜京產字景齊 Du Jingchan (436 - 499; 14796.93 [杜景產 is apparently a mistake], a recluse who taught Daoism in the Kuaiji Mountains and refused Southern Qi summons to 員外散騎侍郎 office). Du Qi was good at clear talk, able to play the qin (and liked to drink). Wang Ziliang (i.e., 竟陵[文宣]王蕭子良 Xiao Zilang, Prince Wenxuan) of Jingling (see also #98 above) often met him to 致禮 debate ceremonies. (When Du) Jingchan (became old Du Qi returned to take care of him, and when his father) died he destroyed himself (by not eating or drinking and crying all the time and soon) died.
陶弘景 Tao Hongjing, style name 通明 Tongming (452 or 456 - 536; 42642.26)
Tao Hongjing was from 丹陽秣陵 Moling in Danyang (southern Nanjing). He read more than 10,000 books, and if there was something he didn't understand he would feel very much ashamed. He was good at qin, chess, 草隸 grass writing and clerical script (and also calendar calculations, geography, medicine, etc.) He lived at 句曲山 Juqu Mountain (later called 茅山 Mao Shan, in Jiangu province) and had the nickname 山中宰相 Prime Minister of the Mountain. He died at age 85.
王彥 Wang Yan (21295.780xxx)
Wang Yan, the great grandfather of (#112) Wen Zhongzi, was once the governor of 同州 Tongzhou (in Shaanxi, north of Chang An). When young he studied the Chun Qiu and Yi Jing from his teacher 關子明 Guan Ziming Together they were recluses in 臨汾山 the mountains of Linfen district, Shanxi. In 景明四年 503 CE Wang Yan 服闋 set aside mourning and 授 transmitted a qin (melody). It was urgent, with thoughts of the melancholy time. Hearing this Ziming asked, What sad sound is this? Yan said, Sincere sadness for my late father 與先生有志不就也. Ziming said, (Dialogue not yet translated.) Yan was the father of 安康獻公 (Duke Xian of Ankang, in Shaanxi). Duke Xian was the father of 銅川 Tongchuan, and Tongchuan was the father of Wen Zhongzi.
文中子 Wen Zhongzi (583 - 616)
Nickname of 王通 Wang Tong; see separate entry
王績 Wang Ji (585 - 644)
Listed by his nickname, 東皋子 Donggaozi; see separate entry
呂方 Lü Fang (3474.xxx)
Lü Fang was a government official during the reign of Tang Emperor Wenhuang (Taizong, r.627 - 650).
趙耶利 Zhao Yeli (563 - 639)
See separate entry.
司馬承正 Sima Chengzheng (647 - 735)
see separate entry (also 承禎 Chengzhen; style name 司馬子微 Sima Ziwei; nickname 正一先生 Mr. Zhengyi)
盧藏用 Lu Cangyong (ca. 660 - ca. 714)
See separate entry
趙元 Zhao Yuan, style name Zigu 子固 (38015.72/2?)
Zhao Yuan was from 汲 Ji (汲郡 northern Henan)
Zhao Yuan, style name 子固 Zigu, was from Ji. He was a good friend of Chen Zi'ang....Spent time in secret, not speaking, only picking herbs, playing qin, and intoning praise to emperors Yao and Shun. He died age 39.
元紫芝 Yuan Zizhi, style name of 元德秀 Yuan Dexiu (696 - 754)
Yuan Dexiu, from Henan, was a Tang gentleman of lofty actions.... (Giles: As ruler of 魯山 Lushan in Henan he was much loved, lived simply, in famine would go without eating a long time, comforting himself by playing the qin.
房公 Fang Gong, nickname of 房琯 Fang Guan (697 - 763)
Folio 15, #17 of Qinshu Daquan has his biography (V.326)
My edition of Qin Shi has a missing section several words into his entry. QSDQ seems to correct this.
張鎬 Zhang Gao (died 764 CE; ToC calls him 張丞相鎬 Prime Minister Zhang Gao)
Folio 15, #20 of Qinshu Daquan has his biography (V.326)
My edition of Qin Shi has his name in the ToC, but the biography is completely missing.
李勉 Li Mian (717 - 788; ToC calls him 李丞相勉 Prime Minister Li Mian)
See separate entry (N.B., the beginning of his entry in Qin Shi is missing, so that part is added from Qinshu Daquan)
韓滉 Han Huang, style name 太沖 Taichong (723 - 787)
See separate entry
* 韓皋 Han Gao, style name 仲聞 Zhongwen (746 - 824), his son
See separate entry
獨孤及 Dugu Ji (725 - 777)
See separate entry
白居易 Bai Juyi (772 - 846)
See separate entry; style name 樂天 Letian; name also written Bo Juyi, Po Chü-I.
崔玄亮 Cui Xuanliang, style name 晦叔 Huishu (768 - 833)
From 磁州博陵 Cizhou (northern Henan) he had official positions in various places (including 歙二州). He enjoyed himself with countryside, qin and wine....He had a qin named 玉磬 Yu Qing
衛次公 Wei Cigong, style name 從周 Congzhou (752 - 818)
Wei Cigong (從周 Congzhou is same style name as #121) was from 河東 Hedong. During the 正元 (貞元?) period 785 - 805 he was in the Hanlin academy; during 806 - 821) he 度淮南次公 was an official in Huainan. A good qin player. There is a story concerning 尹季齊 Yin Jiqi (? nfi).
郭虛舟 Guo Xuzhou
"Empty Boat Guo"; (NFI)
When Bai Juyi was an official in 江州 Jiangzhou, Guo Xuzhou travelled with him. There is a farewell poem that says,
師年三十餘，白晰好容儀。
專心在船永，餘力工琴棋。
靜彈弦歌聲，閑飲酒一卮。
Gu Xuzhou was called the 江南道士 Jiangnan Daoist.
蕭祐 Xiao You (also Xiao Hu 蕭祜; d. 828)
Xiao You (Bio/2099) is mentioned in a poem by Li Yijian. And Qin illustration 7 in Taiyin Daquanji claims to be a depiction of his Cloud Gathering (雲和 Yun He) qin; it also mentions two other qins said to have belonged to him, 空桑 Kong Sang and 龍門 Long Men.
Xiao You was a good calligrapher and painter, and also could distinguish musical tones. During 806 - 821 he wrote a Wuyi Shang Jiudiaopu. His finger techniques were especially marvelous. The preface to the handbook.... (mentions some qin melodies).... Xiao You was once governor of 彭州 Pengzhou.
董庭蘭 Dong Tinglan (695 - ca. 765)
See separate entry
李氏、王氏女 Women of the Li and Wang families
李氏女 The woman of the Li Family was from 潁陽 Yingyang (Henan or Anhui). When she was 15 she suddenly became ill. For seven days she didn't eat. Her spirit then flew off as though it was ascending into the atmosphere. In the clouds and fog some female immortals with qin played 50 melodies of a type similar to 清風弄 Clear Breeze Melody (18003.275xx). During the period 742 - 756, Tang Emperor Minghuang (Xuanzong) 度 decided that she was a 女道士 Female Daoist master.
王氏女 The woman of the Wang family was an 兄女 older sister of 王淹 Wang Ye of 琅邪 Langye (Shandong?). When not yet 15 years old she was suddenly able to play Guangling San. It hadn't come out of the ground or come down from the heavens. It was as if it had been preserved by a spiritual master. 顧況為之記且曰 Seeing the circumstances it was written down. It was also said, All the music loving officials welcomed it. Guangling San is a model melody. Its meaning was that in the empty silence there is a spiritual investigating official. 其妙有以授王女 Its beauty was given to the Wang lady. Don't you think that this is really the case?
薛易簡 Xue Yijian (ca. 725 - ca.800; 329.29xxx)
Xue Yijian was one of the leading qin players and writers (QSCM Folio 2 #12 quotes extensively from and about his Qin Marvels (琴訣一卷 Qin Jue One Folio) in the Tang dynasty. See the separate entry.
陳康士 Chen Kangshi, style name 安道 Andao (874 - 888)
Chen Kangshi was one of the leading qin players and writers. See the separate entry.
宋霽 Song Ji
Song Ji was good at qin. During the Wenzong reign (827 - 841) he privately studied at the 學士院 Student Academy. The text relates a story about this.
* 賀祐存 He Youcun (?; also called 夷 Yi) appended
He Youcun was good at qin. During the 宣宗 Xuanzong period (847 - 860) he played the qin for the emperor. The account concerns this.
甘讜 Gan Dang, style name 正詞 Zhengci (xxx)
Gan Dang was from Chengdu. His mother liked the qin. When he was 9 he began studying from 羅興宗名達四遠多所傳授性好山水晚無定居長安人張巒 in Chang An Zhang Luan learned qin from Gan Dang. He was especially good.
孫希裕 Sun Xiyu, style name 偉卿 Weiqing (?)
Sun Xiyu's father Guo (or "certainly") was a Daoist master. He was good at qin. He once asked 鄭瀚 Zheng Han (civil official and writer; 776 - 839) to write a preface for his 陰符經 Yinfu Jing and 柳公權 Liu Gongquan (see Giles; beautiful writing; 778 - 865) to copy it. The entry also mentions his playing Guangling San.
陳拙 Chen Zhuo (late Tang)
Chen Zhuo was one of the leading qin players and writers. See the separate entry.

卷五 Folio 5
（宋）太宗 Song Taizong (趙匡儀 Zhao Kuangyi, 939 - 997; 38015.209)
Zhao Kuangyi, the second emperor of the Song dynasty, was of considerable importance to qin history. See separate entry.
竇儼 Dou Yan, style name 望之 Wang Zhi (919 - 960)
Dou Yan, younger brother of 竇儀 Dou Yi, was a music official of the Latter Zhou dynasty. The entry mentions the instruments he studied, including qin from 茅 Mr. Mao of 圃田 Putian. It has a rather extensive discussion of musical matters.
崔遵度 Cui Zundu
See separate entry; also 崔論德 Cui Lunde (a rank?)
(朱億 Zhu Yi, style name 延年 Yannian)
先祖尚書公 My Late Grandfather (see 朱長文 Zhu Changwen) the Esteemed Minister (this is the original Qin Shi title; xianzu can mean simply "ancestor" as well as "late grandfather"; shangshu was a high official position; gong is an honorific) avoided using his given name, 億 Yi; his style name was 延年 Yannian. He was from 越州剡縣 Shan (or Yan) district of Yuezhou (south of 紹興 Shaoxing in Zhejiang). When young he had elegant interests, especially deep regarding the qin.... (Details.) He had a qin named 玉磬 Yu Qing from #126 Cui Xuanliang....
朱文濟 Zhu Wenji and 趙裔 Zhao Yi
See separate entry
趙裔 Zhao Yi
Most information on Zhao Yi is related together with that of Zhu Wenji. Was he the same person as the noted painter of the Later Liang dynasty (907 - 923; Bio. 1642)?
唐異 Tang Yi (ca. 1100?)
Tang Yi, style name 子正 Zizheng (3714.xxx; Bio.2029) was a good calligrapher and qin player in retirement (perhaps Zhu Changwen knew him?). Narrative mentions 林逋 Lin Bu (967 - 1028, famous for his cranes) and #144 Fan Zhongyan.
範仲淹 Fan Zhongyan (989 - 1052)
See separate entry
歐陽修 Ouyang Xiu, style name 永叔 Yongshu (1007 - 1072)
See separate entry
趙抃 Zhao Bian, style name 閱道 Yuedao (1008 - 1084)
(Zhao Bian was from 衢州西安 Xi'an in Quzhou [southwest Zhejiang]. Giles: he was celebrated for his integrity and benevolence. When sent as governor to Sichuan he took nothing but a qin and a crane.) He calmed himself by playing qin. (Qinshu Daquan, Folio 18, #38 has qin inscriptions he wrote.)

卷六 Folio 6 (Theory)

瑩律 Ying Lü: Sonorous Tubes

釋絃 Shi Xian: Explaining the silk strings

明度 Ming Du: Clarifying Measurements

擬象 Ni Xiang: Determining the Form

論音 Lun Yin: Discussing the Tones

審調 Shen Diao: Investigating the Modes

聲歌 Sheng Ge: The Sound of Songs

廣制 Guang Zhi: Construction

盡美 Jin Mei: Exhausting the Beauty (this is also included in QSDQ, Folio 1, #13)
志言 Zhi Yan: Words about Significance
Translated in Van Gulik, Lore, pp. 55-6 (and fn. pp. 56-7)
敘史 Xu Shi: Chatting about History

Footnotes (Shorthand references are explained on a separate page)

1 琴史 21570.17/2; my edition is 揚州詩局重刊 a Yangzhou reprint photocopied from The Chinese Library, Taipei. (Return)

2 朱長文 14779.290 (Return)

3 The Table of Contents has 146 entries, but in the text #120 - 122 are combined into one. I have re-separated them, making 146 numbered biographical essays. (Return)

4 The following are about women qin players (also: mother of #135).
#52-57, #60 A & B, #71, #78 A & B, #97, #131 A & B.
(Return)

5 These I have not carefully examined. (Return)

6 My comments on this are in Qin History, Footnote 1. (Return)

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