The Qinshi 琴史 (History of the Qin) compiled by Song dynasty scholar Zhu Changwen 朱長文 (1041-1098) stands as the earliest known work that primarily focuses on the historical aspects of the Chinese zither qin. Comprising 146 entries, this work meticulously presents biographies of individuals associated with the qin, from ancient times to the Northern Song dynasty (11th century). The author, Zhu Changwen, meticulously selected and arranged the biographies in this work, adhering to a chronological order while considering their musical relevance and adherence to Confucian values. From the first to the fifth chapter, esteemed individuals such as legendary emperors, transcendent immortals, renowned literati, and reclusive hermits are included, each playing a significant role in the intricate narrative of qin-related history. The sixth and final chapter of the work delves into the theoretical aspects of qin music. Within its eleven sections, various topics pertaining to the instrument are explored, including its construction, materials used, symbolic associations with different tones and pitches, tuning of the strings, and diverse playing styles. Zhu Changwen extensively incorporates ancient sources, many of which have remained undisclosed in the original text. This comprehensive translation of the work presents a detailed analysis of these sources, shedding further light on the theoretical foundations of qin music. The introduction of the book provides an outline of the work's overall structure. It focuses on the methodological approach employed by Zhu Changwen in selecting and presenting the biographical sketches featured in the first part of his work. Furthermore, significant attention is dedicated to the conceptual framework, ideology, and aesthetics of the qin, as evidenced by the diverse topics addressed in the sixth chapter. Zhu Changwen's own biography, family background, and ancestry records are presented and reconstructed in meticulous detail, offering valuable insights into the author's background and influences. Additionally, a comprehensive presentation of notable editions of the Qinshi, ranging from the Ming dynasty to the contemporary era, further enriches the understanding of this seminal work. The last part of the book encompasses several appended documents. These include translations of the original prefaces, relevant excerpts from the forewords found in other earlier editions, as well as records associated with notable ancient instruments referenced within the text. The concluding part of the book features tables and glossaries designed for convenient and efficient reference, aiding readers in swiftly locating specific figures and piece titles mentioned throughout the text.
The Qinshi 琴史 (History of the Qin) by Zhu Changwen 朱長文 (1041–1098)
Luca Pisano
2023-01-01
Abstract
The Qinshi 琴史 (History of the Qin) compiled by Song dynasty scholar Zhu Changwen 朱長文 (1041-1098) stands as the earliest known work that primarily focuses on the historical aspects of the Chinese zither qin. Comprising 146 entries, this work meticulously presents biographies of individuals associated with the qin, from ancient times to the Northern Song dynasty (11th century). The author, Zhu Changwen, meticulously selected and arranged the biographies in this work, adhering to a chronological order while considering their musical relevance and adherence to Confucian values. From the first to the fifth chapter, esteemed individuals such as legendary emperors, transcendent immortals, renowned literati, and reclusive hermits are included, each playing a significant role in the intricate narrative of qin-related history. The sixth and final chapter of the work delves into the theoretical aspects of qin music. Within its eleven sections, various topics pertaining to the instrument are explored, including its construction, materials used, symbolic associations with different tones and pitches, tuning of the strings, and diverse playing styles. Zhu Changwen extensively incorporates ancient sources, many of which have remained undisclosed in the original text. This comprehensive translation of the work presents a detailed analysis of these sources, shedding further light on the theoretical foundations of qin music. The introduction of the book provides an outline of the work's overall structure. It focuses on the methodological approach employed by Zhu Changwen in selecting and presenting the biographical sketches featured in the first part of his work. Furthermore, significant attention is dedicated to the conceptual framework, ideology, and aesthetics of the qin, as evidenced by the diverse topics addressed in the sixth chapter. Zhu Changwen's own biography, family background, and ancestry records are presented and reconstructed in meticulous detail, offering valuable insights into the author's background and influences. Additionally, a comprehensive presentation of notable editions of the Qinshi, ranging from the Ming dynasty to the contemporary era, further enriches the understanding of this seminal work. The last part of the book encompasses several appended documents. These include translations of the original prefaces, relevant excerpts from the forewords found in other earlier editions, as well as records associated with notable ancient instruments referenced within the text. The concluding part of the book features tables and glossaries designed for convenient and efficient reference, aiding readers in swiftly locating specific figures and piece titles mentioned throughout the text.
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
