Monday, May 4, 2020

Musical instrument: wo konghou (卧箜篌)

Musical instrument: wo konghou
(卧箜篌)
compiled by David Badagnani (rev. 22 August 2023)
Detail of a mural depicting a musician playing a wo konghou.  Excavated from a tomb near Ji'an (集安市), Tonghua (通化市), southern Jilin province, northeast China. Goguryeo period (고구려 / 高句麗), 37 BC-668 AD.

In an effort to make this information more accessible, this document contains resources related to the Chinese musical instrument called wo konghou (卧箜篌, literally "lying [i.e., horizontal] konghou"), also called konghou (箜篌), kanhou (坎侯), or konghou (空侯)--a fretted zither played by plucking its silk strings with a slender bamboo stick--as documented in the Chinese historical record.

First used in China since at least the Western Han Dynasty and the first Chinese string instrument to have frets, this distinctive instrument was later transmitted to Korea and Japan. Its use ceased in Japan by the late Heian period, and it died out in China after the Ming Dynasty, but its descendant, the
geomungo (komungo), remains in wide use in Korea, where it is used to play court, folk, and popular musics.

Update:
Beginning in 2021, an amateur musician/instrument builder from China named Wei Tingxuan (魏霆轩), whose Bilibili channel is named Yueji Wei Tingxuan (樂伎魏霆軒), began a project to revive the wo konghou by constructing an instrument based on historical iconography and attempting to recover this instrument's playing techniques, in part by reference to Korean geomungo tradition. By 2022, Wei had produced a playable wo konghou with 7 strings and 16 frets, and, on June 29, 2022, uploaded this video showing a preliminary attempt at playing this instrument. The piece being performed is "Qing Ping Le/Yue: Jin Ting Chun Zhou"《清平乐·禁庭春昼》, a setting of a poem by the Tang poet Li Bai by the Chinese composer Zhao Lianqi (赵亮棋), which was part of the soundtrack of the 2019 Chinese historical TV drama series Chang'an Shi'er Shichen《长安十二时辰》(The Longest Day in Chang'an) in 2019.
Links to textual sources are highlighted in green.

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Chinese historical reference works discussing the wo konghou

Shiji 《史记》 (Records [of the Grand] Historian), also called Taishigong Shu《太史公书》(Book of the Grand Historian) or Taishigong Ji《太史公记》(Records of the Grand Historian)
The official history of China's pre-Han period, this text covers the world as it was then known to the Chinese, encompassing a 2,500-year period from the age of the legendary Yellow Emperor (黄帝, alleged to have reigned from 2698 BC to 2598 BC) to the reign of Emperor Wu of Han (汉武帝, r. 141 BC-87 BC) in the author's own time, also including the Xia, Shang, Zhou, and Qin Dynasties.  Shiji was completed c. 94 BC by the Western Han Dynasty historian Sima Qian (司马迁, c. 145 BC-c. 86 BC), after having been started by his father, Sima Tan (司马谈, c. 165 BC-110 BC), a Western Han historian and astrologer.  It is one of the Twenty-Four Histories (二十四史).

卷十二
Volume 12

其年,既滅南越,上有嬖臣李延年以好音見。上善之,下公卿議,曰:「民閒祠尚有鼓舞之樂,今郊祠而無樂,豈稱乎?」公卿曰:「古者祀天地皆有樂,而神祇可得而禮。」或曰:「泰帝使素女〔一〕鼓五十弦瑟,悲,帝禁不止,故破其瑟為二十五弦。」於是塞南越,禱祠泰一、后土,始用樂舞,益召歌兒,作二十五弦〔二〕及箜篌瑟〔三〕自此起。

〔一〕索隱亦謂太昊也。正義泰帝謂太昊伏羲氏。

〔二〕集解徐廣曰:「瑟也。」

〔三〕集解徐廣曰:「應劭云武帝令樂人侯調始造箜篌。」索隱應劭云:「武帝始令樂人侯調作,聲均均然,命曰箜篌。侯,其姓也。」


卷二十八
Volume 28

其春,既滅南越,上有嬖臣李延年以好音見。上善之,下公卿議,曰:「民閒祠尚有鼓舞樂,今郊祀而無樂,豈稱乎?」公卿曰:「古者祠天地皆有樂,而神祇可得而禮。」或曰:「太帝使素女鼓五十弦瑟,悲,帝禁不止,故破其瑟為二十五弦。」於是塞南越,禱祠太一、后土,始用樂舞,益召歌兒,作二十五弦〔一〕及空侯〔二〕琴瑟自此起。

〔一〕集解徐廣曰:「瑟。」

〔二〕集解徐廣曰:「應劭云武帝令樂人侯調始造此器。」


Fengsu Tongyi《风俗通义》(Comprehensive Meaning of Customs and Mores or Comprehensive Meaning of Customs and Habits)
Also known as Fengsu Tong风俗通, this book was written by the politician, writer, and historian Ying Shao (应劭), who was a long-time close associate of Cao Cao, around 195 AD, during the late Eastern Han Dynasty.  The manuscript is similar to an almanac, which describes various strange and exotic matters of interest to the literati of the period, such as folk cultural practices, legends, mystical beliefs, and musical instruments.  There were originally a total of 30 chapters, but only 10 remain.  These chapters were recompiled by the Northern Song scientist Su Song (苏颂) from the works of Yu Zhongrong (庾仲容) and Ma Zong (马总).  Some fragments of the lost chapters exist as quotations in other Chinese texts.  The wo konghou is discussed in the《聲音》chapter, as follows:

空侯

謹按:《漢書》:孝武皇帝賽南越,禱祠太乙、后土,始用樂人侯調,依琴作坎坎之樂,言其坎坎應節奏也。侯以姓冠章耳。或說:空侯取其空中。琴瑟皆空,何獨坎侯耶?斯論是也。《詩》云:「坎坎鼓我。」是其文也。


Shiming《释名》(Explanation of Names)
A dictionary employing phonological glosses, which is believed to date from c. 200 AD, during the Eastern Han Dynasty.  There is controversy whether this dictionary's author was Liu Xi (刘熙, fl. c. 200 AD) or the more famous Liu Zhen (刘珍, d. 126 AD).  The wo konghou is discussed in the section entitled "Explanation of Musical Instruments" (Shi Yueqi, 释乐器), as follows:
「箜篌、此師延所作靡靡之樂也,後出於桑間濮上之地,蓋空國之侯所存也。師涓為晉平公鼓焉,鄭衛分其地而有之,遂號鄭衛之音,謂之淫樂也。」
https://ctext.org/shi-ming/shi-yue-qi

Hou Han Shu《后汉书》(The Book of the Later Han)
The official history of the Eastern Han Dynasty (also called "Later Han"), covering the period from 6 to 189 AD, Hou Han Shuwhich also covers the interregnum of the Xin Dynasty (新朝, 9-23), was compiled by Fan Ye (范晔, 398-445 or 446) and others in the 5th century, during the Liu Song Dynasty (420-479).  It is one of the Twenty-Four Histories (二十四史).  The konghou (空侯) is discussed in several sections:

卷八十九
Volume 89

報荅之辭,令必有適。〔一〕今立稿草并上,曰:「單于不忘漢恩,追念先祖舊約,欲修和親,以輔身安國,計議甚高,為單于嘉之。往者,匈奴數有乘亂,呼韓邪、郅支自相讎隙,並蒙孝宣皇帝垂恩救護,故各遣侍子稱藩保塞。其後郅支忿戾,自絕皇澤,而呼韓附親,忠孝彌著。及漢滅郅支,〔二〕遂保國傳嗣,子孫相繼。今南單于攜眾南向,款塞歸命。自以呼韓嫡長,次第當立,而侵奪失職,猜疑相背,數請兵將,歸埽北庭,策謀紛紜,無所不至。惟念斯言不可獨聽,又以北單于比年貢獻,欲修和親,故拒而未許,將以成單于忠孝之義。漢秉威信,總率萬國,日月所照,皆為臣妾。殊俗百蠻,義無親疏,服順者褒賞,畔逆者誅罰,善惡之效,呼韓、郅支是也。今單于欲修和親,款誠已達,何嫌而欲率西域諸國俱來獻見?西域國屬匈奴,與屬漢何異?單于數連兵亂,國內虛耗,貢物裁以通禮,何必獻馬裘?今齎雜繒五百匹,弓鞬韥丸一,矢四發,遣遺單于。〔三〕又賜獻馬左骨都侯、右谷蠡王雜繒各四百匹,斬馬劍各一。〔四〕單于前言先帝時所賜呼韓邪竽、瑟、空侯皆敗,願復裁〔賜〕。〔五〕念單于國尚未安,方厲武節,以戰攻為務,竽瑟之用不如良弓利劍,故未以齎。〔六〕朕不愛小物於單于,便宜所欲,遣驛以聞。」

〔一〕 適猶所也,言報荅之辭必令得所也。

〔二〕 元帝時,郅支坐殺使者谷吉,都護甘延壽與副陳湯發西域兵誅斬之。

〔三〕 鞬音居言反。方言云:「臧弓為鞬,臧箭為韥。」韥丸即箭箙也。矢十二曰發,見漢書音義。

〔四〕 尚方,少府屬官。作供御器物,故有斬馬劍。言劍利可以斬馬。

〔五〕 言更請裁賜也。

〔六〕 言不齎,持往遺也。

東園武士執事下明器。〔一〕筲八盛,容三升,〔二〕黍一,稷一,麥一,粱一,稻一,麻一,菽一,小豆一。甕三,容三升,醯一,醢一,屑一。〔三〕黍飴。載以木桁,覆以疏布。甒二,容三升,醴一,酒一。載以木桁,覆以功布。瓦鐙一。彤矢四,軒輖中,亦短衛。彤矢四,骨,短衛。〔四〕彤弓一。巵八,牟八,〔五〕豆八,籩八,形方酒壺八。槃匜一具。〔六〕杖、几各一。蓋一。鍾十六,無虡。鎛四,無虡。〔七〕磬十六,無虡。〔八〕壎一,簫四,笙一,箎一,柷一,敔一,瑟六,琴一,竽一,筑一,坎侯一。〔九〕干、戈各一,笮一,甲一,冑一。〔一〇〕輓車九乘,芻靈三十六匹。〔一一〕瓦灶二,瓦釜二,瓦甑一。瓦鼎十二,容五升。匏勺一,容一升。瓦案九。瓦大杯十六,容三升。瓦小杯二十,容二升。瓦飯槃十。瓦酒樽二,容五斗。匏勺二,容一升。

〔一〕 禮記曰:「明器,神明之也。孔子謂為明器知喪道矣,備物而不可用也。」鄭玄注既夕曰:「陳明器,以西行南端為上。」 〔二〕 鄭玄注既夕曰:「筲,畚種類也,其容蓋與簋同。」 〔三〕 鄭玄注既夕曰:「屑,薑桂之屑。」 〔四〕 既夕曰:「翭矢一乘,骨鏃短衛。」鄭玄曰:「翭猶候也,候物而射之矢也。四矢曰乘。骨鏃短衛,亦示不用也。生時翭矢金鏃,凡為矢,五分笴長而羽其一。」通俗文曰:「細毛翭也。」 〔五〕 鄭玄注既夕曰:「牟,盛湯漿。」 〔六〕 鄭玄注既夕曰:「槃匜,盥器也。」 〔七〕 爾雅曰:「大鍾謂之鏞。」郭璞注曰:「書曰『笙鏞以閒』。亦名鎛。」 〔八〕 禮記曰:「有鍾磬而無簨虡。」鄭玄曰:「不懸之也。」 〔九〕 禮記曰:「琴瑟張而不平,竽笙備而不和。」 〔一〇〕既夕謂之役器。鄭玄曰:「笮,矢箙。」 〔一一〕鄭玄注禮記曰:「芻靈,東茅為人馬,謂之芻靈,神之類。」

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諸侯王、列侯、始封貴人、公主薨,皆令贈印璽、玉柙銀縷;大貴人、長公主銅縷。諸侯王、貴人、公主、公、將軍、特進皆賜器,官中二十四物。使者治喪,穿作,柏槨,百官會送,如故事。諸侯王、公主、貴人皆樟棺,洞朱,雲氣畫。公、特進樟棺黑漆。中二千石以下坎侯漆。〔一〕朝臣中二千石、將軍,使者弔祭,郡國二千石、六百石以至黃綬,皆賜常車驛牛贈祭。宜自佐史以上達,大斂皆以朝服。君臨弔若遣使者,主人免絰去杖望馬首如禮。免絰去杖,不敢以戚凶服當尊者。〔二〕自王、主、貴人以下至佐史,送車騎導從吏卒,各如其官府。載飾以蓋,龍首魚尾,華布牆,纁上周,交絡前後,雲氣畫帷裳。中二千石以上有輜,左龍右虎,朱鳥玄武;公侯以上加倚鹿伏熊。千石以下,緇布蓋牆,魚龍首尾而已。二百石黃綬以下至于處士,皆以簟席為牆蓋。其正妃、夫人、妻皆如之。諸侯王,傅、相、中尉、內史典喪事,大鴻臚奏謚,天子使者贈璧帛,載日命謚如禮。下陵,群臣醳麤服如儀,主人如禮。

〔一〕 丁孚漢儀曰:「孝靈帝葬馬貴人,贈步搖、赤紱葬,青羽蓋、駟馬。柩下殿,女侍史二百人著素衣挽歌,引木下就車,黃門宦者引出宮門。」

〔二〕 前書賈山上書曰:「古之賢君於臣也,尊其爵祿而親之,疾則臨視之無數,死則往弔哭之,臨其小斂、大斂。已棺塗前後為之服,錫衰絰而三臨其喪。未斂而不飲酒食肉,未葬不舉樂。當可謂盡禮矣。服法服,端容貌,正顏色,然後見之,故臣下莫敢不竭力盡死以報其上,功德立於世,而令問不忘也。」晉起居注曰:「太尉賈充薨,皇太子妃之父,又太保也,有司奏依漢元明二帝親臨師保故事,皇太子素服為發哀,又臨其喪。」


Yellow-glazed celadon figurine of a musician playing a wo konghou (height:  20 cm).  Excavated in January 1980 from the No. 4 Tomb (4号墓) of Tangjiaotou village (塘角头村) or Qilijie village (七里界村), Shishan community (石山社区), Xishan Subdistrict (西山街道), Echeng District (鄂城区), Ezhou (鄂州市), Hubei province, central China.  Three Kingdoms period (三国, 220-280), probably from the Eastern Wu (Sun Wu) Dynasty (孙吴).  Ezhou (then known as Wuchang, 武昌) was twice the capital of the Sun Wu Dynasty (222-229 and 265-266), and numerous artifacts of unique design have been excavated from there. Collection of the Hubei Provincial Museum (湖北省博物馆), Wuhan, Hubei province, China. Originally in the collection of the Ezhou Museum (鄂州市博物馆), Ezhou, Hubei province, China.

Song Shu《宋书》(The Book of Song)
The official history of the Liu Song Dynasty (420-479)Song Shu was compiled in 492-493 by historian Shen Yue (沈约, 441-513) of the Southern Qi Dynasty.  It is one of the Twenty-Four Histories (二十四史).  The kanhou (空侯) is mentioned in Volume 19:

卷十九
Volume 19

樂一

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八音五曰絲。絲,琴、瑟也,筑也,箏也,琵琶、空侯也。

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空侯,初名坎侯。漢武帝賽滅南越,祠太一后土用樂,令樂人侯暉依琴作坎侯,言其坎坎應節奏也。侯者,因工人姓爾。後言空,音訛也。古施郊廟雅樂,近世來專用於楚聲。宋孝武帝大明中,吳興沈懷遠被徙廣州,造繞梁,其器與空侯相似,懷遠後亡,其器亦絕。



Detail from the cover (tengai / 天蓋 / てんがい)) of a gilt bronze Buddhist openwork ritual banner (Japanese: kondō kanjōban, 金銅灌頂幡) with line engraving, depicting a musician playing a wo konghou with 4 strings and 11 frets. From Japan. Asuka period (飛鳥時代, 7th century), contemporaneous with China's Sui Dynasty (581-618). This item is a National Treasure (国宝) of Japan, no. N-58, and one of the Hōryū-ji Treasures (法隆寺献納宝物). Collection of the Tokyo National Museum (東京国立博物館), Tokyo, Japan.

Tongdian《通典》(Comprehensive Institutions)
Tongdian was written by Tang Dynasty scholar and historian Du You (杜佑, 735-812) between 766 and 801. It mentions the wo konghou in several sections:

卷一百四十四
Volume 144

樂四

絲五

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箜篌,漢武帝使樂人侯調所作,以祠太一。或云侯暉所作。其聲坎坎應節,謂之坎侯,聲訛為空侯。侯者,因樂工人姓耳。古施郊廟雅樂,近代專用於楚聲。宋孝武大明中,吳興沈懷遠被徙廣州,造繞梁,其器與箜篌相似。懷遠亡,其器亦絕。或謂師延靡靡樂,非也。舊說一依琴制。今按其形,似瑟而小,七絃,用撥彈之,如琵琶也。

http://www.guoxue123.com/Shibu/0101/01tdf/144.htm

卷第一百四十六
Volume Number 146

樂六

清樂
Qingyue

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當江南之時,巾舞、白紵、巴渝等,衣服各異。梁以前,舞人並十二人,梁武省之,咸用八人而已。令工人平巾幘,緋褶。舞四人,碧輕紗衣,裙襦大袖,畫雲鳳之狀,漆鬟髻,飾以金銅雜花,狀如雀釵,錦履。舞容閑婉,曲有姿態。沈約宋書惡江左諸曲哇淫,至今其聲調猶然。觀其政已亂,其俗已淫,既怨且思矣,而從容雅緩,猶有古士君子之遺風,他樂則莫與為比。樂用鐘一架,磬一架,琴一,一絃琴一,瑟一,秦琵琶一,臥箜篌一,筑一,箏一,節鼓一,笙二,笛二,簫二,篪二,葉一,歌二。

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讌樂,武德初,未暇改作,每讌享,因隋舊制,奏九部樂。至貞觀十六年十一月,宴百寮,奏十部。先是,伐高昌,收其樂,付太常。至是增為十部伎,其後分為立坐二部。貞觀中,景雲見,河水清。協律郎張文收采古朱雁天馬之義,製景雲河清歌,名曰讌樂,奏之管絃,為諸樂之首:景雲樂,舞八人,花錦袍,五色綾蔥,綵雲冠,烏皮靴;慶善樂,舞四人,紫綾袍,大袖,絲布蔥,假髻;破陣樂,舞四人,緋綾袍,錦衿褾,緋綾蔥;承天樂,舞四人,紫袍,進德冠,並金銅帶。樂用玉磬一架,大方響一架,搊箏一,筑一,臥箜篌一,大箜篌一,小箜篌一,大琵琶一,小琵琶一,大五絃琵琶一,小五絃琵琶一,吹葉一,大笙一,小笙一,大篳篥一,小篳篥一,大簫一,小簫一,正銅鈸一,和銅鈸一,長笛一,尺八一,短笛一,揩鼓一,連鼓一,鞉鼓二,浮鼓二,歌二。此樂唯景雲舞近存,餘並亡。

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東夷二國。高麗樂,工人紫羅帽,飾以鳥羽,黃大袖,紫羅帶,大口蔥,赤皮鞾,五色縚繩。舞者四人,椎髻於後,以絳抹額,飾以金璫。二人黃裙襦,赤黃蔥;二人赤黃裙,襦蔥。極長其袖,烏皮鞾,雙雙併立而舞。樂用彈箏一,搊箏一,臥箜篌一,豎箜篌一,琵琶一,五絃琵琶一,義觜笛一,笙一,橫笛一,簫一,小篳篥一,大篳篥一,桃皮篳篥一,腰鼓一,齊鼓一,擔鼓一,貝一。大唐武太后時尚二十五曲,今唯能習一曲,衣服亦寖衰敗,失其本風。百濟樂,中宗之代,工人死散。開元中,岐王範為太常卿,復奏置之,是以音伎多闕。舞者二人,紫大袖裙襦,章甫冠,皮履。樂之存者,箏、笛、桃皮篳篥、箜篌、歌。

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西涼樂者,起符氏之末,呂光、沮渠蒙遜等據有涼州,變龜茲聲為之,號為秦漢伎。後魏太武既平河西,得之,謂之西涼樂。至魏、周之際,遂謂之國伎。魏代至隋咸重之。其曲項琵琶、豎頭箜篌之徒,並出自西域,非華夏舊器。楊澤新聲、神白馬之類,生於胡歌,非漢、魏遺曲,故其樂器聲調悉與書史不同。其歌曲有永世樂,解曲有萬代豐,舞曲有于闐佛曲。工人平巾幘,緋褶。白舞一人,方舞四人。白舞今闕。方舞四人,假髻,玉支釵,紫絲布褶,白大口蔥,五綵接袖,烏皮靴。其樂器用:鐘一架,磬一架,彈箏一,搊箏一,臥箜篌一,豎箜篌一,琵琶一,五絃琵琶一,笙一,簫一,大篳篥一,小篳篥一,長笛一,橫笛一,腰鼓一,齊鼓一,擔鼓一,貝一,銅鈸二。


Youyang Zazu《酉阳杂俎》(Miscellaneous Morsels from Youyang) A 30-volume book compiled c. 843-853 by Duan Chengshi (段成式, c. 803-863), a naturalist, poet, and official from Shandong province. It focuses on miscellany of Chinese and foreign legends and hearsay, reports on natural phenomena, short anecdotes, and tales of the wondrous and mundane, as well as notes on such topics as medicinal herbs and tattoos. A brief story about the wo konghou from the late Northern Wei Dynasty (early 6th century) appears in the section on music that appears in this work's sixth volume.
樂 [ ... ]
Yuefu Zalu《乐府杂录》(Miscellaneous Notes Regarding the Music Bureau)
A collection of small essays (biji, 笔记) by the Tang scholar Duan Anjie (段安节, fl. 880-898), published around 890 near the end of the Tang Dynasty.  This work survives in no fewer than 23 different editions.  An extensively annotated German translation was published by Martin Gimm (b. 1930) in 1966.  The wo konghou is discussed in two sections:

俳優

開元中,黃幡綽、張野狐弄參軍。始自後漢館陶令石耽,耽有贓犯,和帝惜其才,免罪。每宴樂,即令衣白夾衫,命優伶戲弄辱之,經年乃放。後爲參軍,誤也。開元中有李仙鶴善此戲,明皇特授韶州同正參軍,以食其祿,是以陸鴻漸撰詞雲「韶州參軍」,蓋由此也。武宗朝有曹叔度、劉泉水咸通以來,即有范傳康、上官唐卿、呂敬遷等三人。弄假婦人,大中以來有孫乾、劉璃瓶,近有郭外春、孫有熊。僖宗幸蜀時,戲中有劉真者,尤能,後乃隨駕入京,籍於教坊。弄婆羅,大中初有康乃、李百魁、石寶山。大別有夷部樂,即有扶南、高麗、高昌、驃國、龜茲、康國、疏勒、西涼、安國;樂即有單龜頭鼓及箏、蛇皮琵琶,蓋以蛇皮爲槽,厚一寸餘,鱗介具焉,亦以楸木爲面,其捍撥以象牙爲之,畫其國王騎象,極精妙也。鳳頭箜篌、臥箜篌,其工頗奇巧。三頭鼓、鐵拍板、葫蘆笙;舞有骨鹿舞、胡旋舞,俱於小圓球子上舞,縱橫勝踏,兩足終不離於球子上,其妙如此也。

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箜篌

箜篌乃鄭、衛之音,權輿也;以其亡國之音,故號「空國之侯」,亦曰「坎侯」。古樂府有《公無渡河》之曲:昔有白首翁,溺於河,歌以哀之;其妻麗玉善箜篌,撰此曲,以寄哀情。咸通中第一部有張小子,忘其名,彈弄冠於今古,今在西蜀。太和中有季齊皋者,亦爲上手,曾爲某門中樂史,後有女,亦善此伎,爲先徐相姬。大中末,齊皋尚在,有內官擬引入教坊,辭以衰老,乃止。胡部中此樂妙絕。教坊雖有三十人,能者一兩人而已。


Jiu Tang Shu旧唐书》(The Old Book of Tang), also known simply as Tang Shu唐书》(The Book of Tang)
This historical work in 200 volumes was completed in 945, actually during the Later Jin (后晋) Dynasty, one of the Five Dynasties during the Five Dynasties and Ten Kingdoms (五代十国) period following the fall of the Tang Dynasty.  It is one of the Twenty-Four Histories (二十四史).  The wo konghou is discussed in Volume 29:

卷二十九
Volume 29

音樂二

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坐部伎有讌樂、長壽樂、天授樂、鳥歌萬壽樂、龍池樂、破陣樂,凡六部。

讌樂,張文收所造也。工人緋綾袍,絲布袴。舞二十人,分為四部:景雲樂,舞八人,花錦袍,五色綾袴,雲冠,烏皮靴;慶善樂,舞四人,紫綾袍,大袖,絲布袴,假髻;破陣樂,舞四人,緋綾袍,錦衿褾,緋綾袴;承天樂,舞四人,紫袍,進德冠,並銅帶。樂用玉磬一架,大方響一架,搊箏一,卧箜篌一,小箜篌一,大琵琶一,大五絃琵琶一,小五絃琵琶一,大笙一,小笙一,大篳篥一,小篳篥一,大簫一,小簫一,正銅拔一,和銅拔一,長笛一,短笛一,楷鼓一,連鼓一,鞉鼓一,桴鼓一,工歌二。此樂惟景雲舞僅存,餘並亡。

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清樂者,南朝舊樂也。永嘉之亂,五都淪覆,遺聲舊制,散落江左。宋、梁之間,南朝文物,號為最盛;人謠國俗,亦世有新聲。後魏孝文、宣武,用師淮、漢,收其所獲南音,謂之清商樂。隋平陳,因置清商署,總謂之清樂,遭梁、陳亡亂,所存蓋鮮。隋室已來,日益淪缺。武太后之時,猶有六十三曲,今其辭存者,惟有白雪、公莫舞、巴渝、明君、鳳將雛、明之君、鐸舞、白鳩、白紵、子夜、吳聲四時歌、前溪、阿子及歡聞、團扇、懊壟、長史、督護、讀曲、烏夜啼、石城、莫愁、襄陽、棲烏夜飛、估客、楊伴、雅歌、驍壺、常林歡、三洲、採桑、春江花月夜、玉樹後庭花、堂堂、泛龍舟等三十二曲。明之君、雅歌各二首,四時歌四首,合三十七首。又七曲有聲無辭,上林、鳳雛、平調、清調、瑟調、平折、命嘯,通前為四十四曲存焉。

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其辭類皆淺俗,而綿世不易,惜其古曲,是以備論之。其他集錄所不見,亦闕而不載。

當江南之時,巾舞、白紵、巴渝等衣服各異。梁以前舞人並二八,梁舞省之,咸用八人而已。令工人平巾幘,緋袴褶。舞四人,碧輕紗衣,裙襦大袖,畫雲鳳之狀,漆鬟髻,飾以金銅雜花,狀如雀釵,錦履。舞容閑婉,曲有姿態。沈約宋書志江左諸曲哇淫,至今其聲調猶然。觀其政已亂,其俗已淫,旣怨且思矣,而從容雅緩,猶有古士君子之遺風,他樂則莫與為比。

樂用鐘一架,磬一架,琴一,三絃琴一,擊琴一,瑟一,秦琵琶一,卧箜篌一,筑一,箏一,節鼓一,笙二,笛二,蕭二,篪二,葉二,歌二。

自長安已後,朝廷不重古曲,工伎轉缺,能合于管絃者,唯明君、楊伴、驍壺、春歌、秋歌、白雪、堂堂、春江花月等八曲。舊樂章多或數百言,武太后時,明君尚能四十言,今所傳二十六言,就之訛失,與吳音轉遠。劉貺以為宜取吳人使之傳習。以問歌工李郎子,李郎子北人,聲調已失,云學於俞才生。才生,江都人也。今郎子逃,清樂之歌闕焉。又聞清樂唯雅歌一曲,辭典而音雅,閱舊記,其辭信典。漢有盤舞,今隷散樂部中。又有幡舞、扇舞,並亡。

自周、隋已來,管絃雜曲將數百曲,多用西涼樂,鼓舞曲多用龜茲樂,其曲度皆時俗所知也。惟彈琴家猶傳楚、漢舊聲,及清調、瑟調,蔡邕雜弄,非朝廷郊廟所用,故不載。

西涼樂者,後魏平沮渠氏所得也。晉、宋末,中原喪亂,張軌據有河西,苻秦通涼州,旋復隔絕。其樂具有鐘磬,蓋涼人所傳中國舊樂,而雜以羌胡之聲也。魏世共隋咸重之。工人平巾幘,緋褶。白舞一人,方舞四人。白舞今闕。方舞四人,假髻,玉支釵,紫絲布褶,白大口袴,五綵接袖,烏皮靴。樂用鐘一架,磬一架,彈箏一,搊箏一,卧箜篌一,豎箜篌一,琵琶一,五絃琵琶一,笙一,簫一,篳篥一,小篳篥一,笛一,橫笛一,腰鼓一,齊鼓一,檐鼓一,銅拔一,貝一。編鐘今亡。

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高麗樂,工人紫羅帽,飾以鳥羽,黃大袖,紫羅帶,大口袴,赤皮靴,五色縚繩。舞者四人,椎髻於後,以絳抹額,飾以金璫。二人黃裙襦,赤黃袴,極長其袖,烏皮靴,雙雙並立而舞。樂用彈箏一,搊箏一,卧箜篌一,豎箜篌一,琵琶一,義觜笛一,笙一,簫一,小篳篥一,大篳篥一,桃皮篳篥一,腰鼓一,齊鼓一,檐鼓一,貝一。武太后時尚二十五曲,今惟習一曲,衣服亦寖衰敗,失其本風。

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金、石、絲、竹、匏、土、革、木,謂之八音。金木之音,擊而成樂。今東夷有管木者,桃皮是也。西戎有吹金者,銅角是也。長二尺,形如牛角。貝,蠡也,容可數升,並吹之以節樂,亦出南蠻。桃皮,卷之以為篳篥。嘯葉,銜葉而嘯,其聲清震,橘柚尤善。四夷絲竹之量,國異其制,不可詳盡。爾雅:琴二十絃曰離,瑟二十七絃曰灑。漢世有洞簫,又有管,長尺圍寸而併漆之,宋世有繞梁,似卧箜篌,今並亡矣。今世又有篪,其長盈尋,曰七星,如箏稍小,曰雲和,樂府所不用。


Yue Shu《乐书》(The Book of Music/Monograph on Music)
Written by Chen Yang (陈旸, 1064-1128) and completed in 1104, Yue Shu, which comprises 200 volumes, was the first Chinese encyclopedia of music.  Since then it has been published in many different editions.

卷一百二十八
Volume 128

劉熈釋名曰箜篌師延所作靡靡之樂蓋空國之侯所存也後出桑間濮上師㳙為晉平公鼓焉鄭分其地而而有之因命淫樂為鄭衛焉或謂漢武帝使樂人侯暉作坎侯蓋取其聲坎坎以應樂節後世聲訛為箜篌爾二説蓋皆有所受之也舊説皆如琴制唐制似瑟而小其絃有七用木撥彈之以合二變故燕樂有大箜篌小箜篌音逐手起曲隨弦成蓋若鶴鳴之嘹唳玉聲之清越者也然非夷狄之制則鄭衛之音非燕樂所當用也或謂取其空中名之眞臆説歟昔有白首翁溺于河其妻麗玉素善十三弦箜篌作為公無渡河曲以寄哀情唐咸亨初第一部有小子太和初有李齊臯及其女並善此伎教坊雖亦有人能者未有一二爾幽明録述陳女阿登善彈箜篌亦異事也唐教坊謝大善歌嘗唱烏夜啼明皇親御箜篌和之以帝王之尊親御胡人之樂何其失君之體也


Wenxian Tongkao《文献通考》(Comprehensive Examination of Literature), a 348-volume work compiled by the historian and encyclopedist Ma Duanlin (马端临, 1245-1322) in 1317, during the Yuan Dynasty, contains description of the music of the Tang Dynasty.

卷一百二十四
Volume 124

东汉皇帝葬仪,以木为重,高九尺,广容八历,裹以苇席。巾门、丧帐皆以簟。车皆去辅轓,疏布恶轮。走卒皆布褠帻。太仆四轮輈为宾车,大练为屋幕。中黄门、虎贲各二十人执绋。司空择土造穿。太史卜日。谒者二人,中谒者仆射、中谒者副将作,油缇帐以覆坑。方后治黄肠题凑便房如礼。大驾,太仆御。方相氏黄金四目,蒙熊皮,元衣朱裳,执戈扬楯,立乘,四马先驱。旂之制,长三仞,十有二游,曳地,画日、月、升龙,书旐曰"天子之柩"。谒者二人立乘六马为次。大驾甘泉卤簿,金根容车,兰台法驾。丧服大行载饰如金根车。皇帝从送如礼。太常上启奠。夜漏二十刻,太尉冠长冠,衣斋衣,乘高车,诣殿止车门外。使者到,南向立,太尉进伏拜受诏。太尉诣南郊。未尽九刻,大鸿胪设九宾随立,群臣入位,太尉行礼。执事皆冠长冠,衣斋衣。太祝令跪读谥策,太尉再拜稽首。洽礼告事毕,太尉奉谥策,还诣殿端门。太常上祖奠,中黄门尚衣奉衣登容根车。东园武士载大行,司徒却行道立车前。治礼引太尉入就位,大行车西少南,东面奉策,太史令奉哀策立後。太常跪曰"进",皇帝进。太尉读谥策,藏金匮。皇帝次科藏於庙。太史奉哀策苇箧,诣陵。太尉旋复公位,再拜立哭。太常跪曰"哭",大鸿胪传哭,十五,举音,止哭。太常行遣奠皆如礼,请哭、止哭如仪。画漏上水,请发。司徒、河南尹先引车转,太常跪曰"请拜送"。载车著白系参缪绋,长三十丈,大七寸为輓,六行,行五十人。公卿以下子弟凡三百人,皆素帻委貌冠,衣素裳。校尉三人,皆赤帻不冠,绛纱单衣,持幢幡,候司马丞为行首,皆衔枚。羽林孤儿、巴俞棹歌者六十人,为六列。铎司马八人,执铎先。大鸿胪设九宾,随立陵南羡门道东,北面;诸侯、王公、特进道西,北面东上;中二千石、二千石、列侯直九宾东,北面西上。皇帝白布幕素里,夹羡道东,西向如礼。容车幄坐羡道西,南向;车当坐,南向,中黄门尚衣奉衣就幄坐。车少前,大祝进醴献如礼。司徒跪曰"大驾请舍",太史令自车南,北面读哀策,掌故在後,己哀哭。太常跪曰"哭",大鸿胪传哭如仪。司徒跪曰"请就下位",东园武士奉下车。司徒跪曰"请就下房",都导东园武士奉车入房。司徒、太史令奉谥、哀策。东园武士执事下明器。筲八盛,容三升。黍一、稷一、麦一、粱一、稻一、麻一、菽一、小豆一。瓮三,容三升,醯一、醢一、屑一。黍饴,载以木桁,覆以疏布。甒二、容三升,醴一,酒一。载以木桁,覆以功布。瓦镫一。彤矢四,轩輖中,亦短卫。彫矢四,骨,短卫。彤弓一。卮八,牟八(郑元注《既夕》曰:"牟,盛汤浆。")。豆八,笾八,形方酒壶八。槃〈匚拖,去“扌”〉一具。杖、几各一,盖一。钟十六,无虡鎛四,无虡。磬十六,无虡。埙一,箫四,笙一,篪一,柷一,敔一,瑟六,琴一,竽一,筑一,坎侯一。干、戈各一,笮一,甲一,胄一,。輓车九乘,刍灵三十六匹。瓦灶二,瓦釜二,瓦甑一。瓦鼎十二,容五升。匏勺一,容一升。瓦案九。瓦大杯十六,容三升。瓦小杯二十,容二升。瓦饭槃十。瓦酒樽二,容五升。匏勺二,容一升。祭服衣送皆毕,东园匠曰"可哭",在房中者皆哭。太常、大鸿胪请哭止如仪。司徒曰"百官事毕,臣请罢",从入房者皆再拜,出,就位。太常导皇帝就赠位。司徒跪曰"请进赠",侍中奉持鸿洞赠玉珪长尺四寸,荐以紫巾,广袤各三寸,缇里,赤纁周缘;赠币,元三纁二,各长尺二寸,广充幅。皇帝进跪,临羡道房户,西向,手下赠,投鸿洞中,三。东园匠奉封入藏房中。太常跪曰"皇帝敬再拜,请哭"。大鸿胪传哭如仪。太常跪曰"赠事毕",皇帝促就位。容根车游载容衣。司徒至便殿,并辇骑皆从容车玉帐下。司徒跪曰"请就幄"。导登。尚衣奉衣,以次奉器衣物,藏於便殿。太祝进醴献。几下,用漏十刻。礼毕,司空将校复土。皇帝、皇后以下皆去粗服,服太红,还宫反庐,立主如礼。桑木主尺二寸,不书谥。虞礼毕,祔於庙,如礼。先大驾日游冠衣於诸宫诸殿,群臣皆吉服从会如仪。皇帝近臣丧服如礼。醳大红,服小红,十一升都布练冠。醳小红,服纤。醳纤,服留黄,冠常冠。近臣及二千石以下皆服留黄冠。百官衣皂。每变服,从哭诣陵会如仪。祭以特牲,不进毛血首。司徒、光禄勋备三爵如礼。

http://www.guoxue123.com/shibu/0401/01wxtk/125.htm

卷一百三十七 乐考十
Volume 137

竖箜篌 胡乐也,其体曲而长,其弦二十有二,植抱於怀,用两手齐奏之,俗谓竖箜篌,亦谓之胡箜篌,高丽等国有竖箜篌、卧箜篌之乐,其引则朝鲜津卒樗里子高所作也(樗里子高晨剌船,有一白首狂夫,披髪提壶,乱流而渡。其妻止之,不能及,竟溺死。於是凄伤援琴作歌而哀之,以象其声,故曰《箜篌引》)。汉灵帝好此乐,後世教坊亦用焉。

卧箜篌 《酉阳杂俎》:魏高阳王雍美人徐月华能弹卧箜篌,为《明妃出塞》声。有田僧超能吹笳,为《壮士歌》、《项羽吟》。将军崔延伯出师,每临敌,令僧超为《壮士》声,遂单骑入阵。


卷第一百四十四
Volume Number 144

樂四

絲五

箜篌,漢武帝使樂人侯調所作,以祠太一。或云侯暉所作。其聲坎坎應節,謂之坎侯,聲訛為空侯。侯者,因樂工人姓耳。古施郊廟雅樂,近代專用於楚聲。宋孝武大明中,吳興沈懷遠被徙廣州,造繞梁,其器與箜篌相似。懷遠亡,其器亦絕。或謂師延靡靡樂,非也。舊說一依琴制。今按其形,似瑟而小,七絃,用撥彈之,如琵琶也。

卷一百四十六
Volume 146

唐高祖即位,仍隋制设《九部乐》:《燕乐伎》乐工舞人无变者。《清商伎》者,隋《清乐》也,有编钟、编磬、独弦琴、击琴、瑟、奏琵琶、卧箜篌、筑、筝、节鼓,皆一;笙、笛、箫、篪、方响、跋膝,皆二;歌二人,吹叶一人,舞者四人,并习《巴渝舞》。《西凉伎》,有编钟、编磬,皆一;弹筝、搊筝、卧箜篌、竖箜篌、琵琶、五弦、笙、箫、觱篥、小觱篥、笛、横笛、腰鼓、齐鼓、檐鼓,皆一;铜钹二,具一。白舞一人,方舞四人。《天竺伎》,有铜鼓、羯鼓、都昙鼓、毛员鼓、觱篥、横笛、凤首箜篌、琵琶、五弦、贝,皆一;铜钹二。舞者二人。《高丽伎》,有弹筝、搊筝、凤首箜篌、卧箜篌、竖箜篌、琵琶,以蛇皮为槽,厚寸馀,有鳞甲,楸木为面,象牙为捍拨,画国王形。又有五弦、义觜笛、笙、葫芦笙、箫、小觱篥、桃皮觱篥腰鼓齐鼓、龟头鼓、铁板具、大觱篥。胡旋舞,舞者立球上,旋转如风。《龟兹伎》,有弹筝、竖箜篌、琵琶、五弦、横笛、笙、箫、觱篥、答腊鼓、毛员鼓、都昙鼓、侯提鼓、鸡娄鼓,腰鼓、齐鼓、檐鼓、贝,皆一;铜钹二。舞者四人。设五方师子,高丈馀,饰以五方色。每师子有十二人,画衣,执红拂,首加红袜,谓之师子郎。《安国伎》,有竖箜篌、琵琶、五弦、横笛、箫、觱篥、正鼓、和鼓,铜钹,皆一;舞者二人;《疏勒伎》,有竖箜篌、琵琶、五弦、箫、横笛、觱篥、答腊鼓、羯鼓、侯提鼓、腰鼓、鸡娄鼓,皆一;舞者二人。《康国伎》,有正鼓、和鼓,皆一;笛、铜钹。皆二。舞者二人。工人之服,皆从其国。隋乐每奏《九部乐》终,辄奏《文康乐》,一曰《礼毕》。太宗时,命削去之,其後遂亡。《礼毕》者,本自晋太尉庾亮家。亮卒,其伎追思亮,因假为其面,执翳以舞,象其容,取谥以号之,谓《文康乐》,每奏《九部乐》终则陈之,故以礼毕为名,其曲有《散华乐》等。隋平陈,得之,入《九部》,乐器有笙、笛、箫、篪、铃槃、鞞、腰鼓等七钟,三悬为一部,工人二十二人既平高昌,收其乐。有竖箜篌、铜角,一;琵琶、五弦、横笛、箫、觱篥、答腊鼓、腰鼓、鸡娄鼓、羯鼓,皆二人。工人布巾,祫袍,锦襟,金铜带,画袴。舞者二人,黄袍褏,练襦,五色绦带,金铜耳璫,赤靴。自是初有《十部乐》。其後因内宴,诏长孙无忌制《倾杯曲》,魏徵制《乐社乐曲》,虞世南制《英雄乐曲》。帝之破窦建德也,乘马名黄骢骠,及征高丽,死於道,颇哀惜之,命乐工制《黄骢叠曲》。四曲皆宫调也。五弦,如琵琶而小,北国所出,旧以木拨弹,乐工裴神符初以手弹,太宗悦甚,後人习为搊琵琶。高宗即位,景雲见,河水清。张文收采古诗为《景雲河清歌》,亦名《燕乐》。有玉磬、方响、搊筝、筑、卧箜篌、大小箜篌、大小琵琶、大小五弦、吹叶、大小笙、大小觱篥、箫、铜钹、长笛、尺八、短笛,皆一;毛员鼓、连鼗鼓、桴鼓、贝,皆二。每器工一人,歌二人,工人绛袍,金带,乌靴。舞者二十人。分四部:一,《景雲舞》,二,《庆善舞》;三,《破阵舞》;四,《承天舞》。《景雲乐》,舞八人,五色雲冠,锦袍,五色袴,金铜带。《庆善乐》,舞四人,紫袍,白袴。《破阵乐》,舞四人,绫袍,绛袴。《承天乐》舞四人,进德冠,紫袍,白袴。《景雲舞》,元会第一奏之。高宗以琴曲浸绝,虽有传者,复失宫商,令有司修习。太常丞吕才上言:"舜弹五弦之琴,歌《南风》之诗。是知琴操曲弄,皆合於歌。今以御《雪诗》为《白雪歌》。古今奏正曲,复有送声,君唱臣和之义,以群臣所和诗十六节为送声十六节。"帝善之,乃命太常著於乐府。才复撰《琴歌》、《白雪》等曲,帝亦制歌词十六,皆著乐府。帝将伐高丽,燕洛阳城门,观屯营教舞。按新征用武之势,名曰《一戎大定乐》,舞者百四十人,被五采甲,持槊而舞,歌者和之,曰"八埏同轨乐"。象高丽平而天下大定也。及辽东平,行军大总管李勣作《夷美宾》之曲以献。调露二年,幸洛阳城南楼,宴群臣,太常奏《六合还淳》之舞,其容制不传。高宗自以李氏老子之後也,於是命乐工制道调。


Ming Shi明史》(The History of Ming)
The official history of the Ming Dynasty (1368-1644), Ming Shi was completed in 1739 (actually during the Qing Dynasty).  It is one of the Twenty-Four Histories (二十四史).  Instruments called konghou (箜篌) and ershi xian (二十弦, "20-string") are mentioned in volume 61, the former term probably referring not to the angular harp but to the fretted zither that is more properly called wo konghou (卧箜篌), and the latter almost certainly referring to the shu konghou (angular harp).

卷六十一
Volume 61
志第三十七
樂一

朝賀。洪武三年定丹陛大樂:簫四,笙四,箜篌四,方響四,頭管四,龍笛四,琵琶四,𥱧六,杖鼓二十四,大鼓二,板二。二十六年又定殿中韶樂:簫十二,笙十二,排笙四,橫笛十二,壎四,篪四,琴十,瑟四,編鐘二,編磬二,應鼓二,柷一,敔一,搏拊二。丹陛大樂:戲竹二,簫十二,笙十二,笛十二,頭管十二,𥱧八,琵琶八,二十弦八,方響二,鼓二,拍板八,杖鼓十二。命婦朝賀中宮,設女樂:戲竹二,簫十四,笙十四,笛十四,頭管十四,𥱧十,琵琶八,二十弦八,方響六,鼓五,拍板八,杖鼓十二。正旦、冬至、千秋凡三節。其後太皇太后、皇太后竝用之。朔望朝參:戲竹二,簫四,笙四,笛四,頭管四,𥱧二,琵琶二,二十弦二,方響一,鼓一,拍板二,杖鼓六。

大宴。洪武元年定殿內侑食樂:簫六,笙六,歌工四。丹陛大樂:戲竹二,簫四,笙四,琵琶六,𥱧六,箜篌四,方響四,頭管四,龍笛四,杖鼓二十四,大鼓二,板二。文武二舞樂器:笙二,橫管二,𥱧二,杖鼓二,大鼓一,板一。四夷舞樂:腰鼓二,琵琶二,胡琴二,箜篌二,頭管二,羌笛二,𥱧二,水盞一,板一。二十六年又定殿內侑食樂:柷一,敔一,搏拊一,琴四,瑟二,簫四,笙四,笛四,壎二,篪二,排簫一,鐘一,磬一,應鼓一。丹陛大樂:戲竹二,簫四,笙四,笛二,頭管二,琵琶二,𥱧二,二十弦二,方響二,杖鼓八,鼓一,板一。迎膳樂:戲竹二,笙二,笛四,頭管二,𥱧二,杖鼓十,鼓一,板一。進膳樂:笙二,笛二,杖鼓八,鼓一,板一。太平清樂:笙四,笛四,頭管二,𥱧四,方響一,杖鼓八,小鼓一,板一。


Gujin Tushu Jicheng《古今图书集成》(Complete Collection of Illustrations and Writings from the Earliest to Current Times), a massive encyclopedia comprising 10,000 volumes, was written during the reigns of the Qing Dynasty emperors Kangxi and Yongzheng. The work, was begun in 1700 and completed in 1725, was supervised initially by Chen Menglei (陈梦雷, 1650-1741), and later by Jiang Tingxi (蒋廷锡, 1669-1732). The wo konghou is mentioned as follows:


Bieya《別雅》(Another Erya)
Bieya, a glossary of synonyms compiled by the scholar Wu Yujin (吴玉搢) around 1745, during the Qianlong period of the Qing Dynasty, contains an entry on the kanhou/konghou:

坎侯空侯控□箜篌也

司馬相如凡將篇鐘磬竽笙筑坎侯風俗通空侯孝武皇帝始用樂人侯調依琴作坎坎之樂言其坎坎應節奏也侯以姓冠章耳吳兢樂府解題漢武滅南粤令樂人侯暉造竷竷音坎以侯姓名坎侯釋名云箜篌此師延所作靡靡之樂也後出于桑閒濮上之地蓋空國之侯所存也沈約宋書控□宮引第一商引第二義與箜篌同


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Chinese poems mentioning the wo konghou

《箜篌引》
Konghou Lament (Konghou Yin)
汉佚名乐府诗
Anonymous Yuefu poem (Han Dynasty)

公无渡河,公竟渡河!
Husband, don't cross the river!
My husband still crossed the river.
渡河而死,其奈公何?
While crossing the river, he lost his life;
With such a husband, how can one endure?

Notes:

The incident commemorated by this poem took place in Joseon Prefecture (朝鲜县, modern-day P'yŏngyang, North Korea), Lelang Commandery (乐浪郡), a commandery of the Han Dynasty that was established after the defeat of Wiman Joseon (卫满朝鲜, 194 BC-108 BC), and lasted until Goguryeo conquered it in 313.

More information:

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《孔雀东南飞》
A Peacock Southeast Flew (Kongque Dongnan Fei)
Original title: 《古诗为焦仲卿妻作》
汉佚名乐府诗(东汉末或六朝
Anonymous Yuefu poem (late Eastern Han Dynasty or Six Dynasties)

汉末建安中,庐江府小吏焦仲卿妻刘氏,为仲卿母所遣,自誓不嫁。其家逼之,乃投水而死。仲卿闻之,亦自缢于庭树。时人伤之,为诗云尔。

孔雀东南飞,五里一徘徊。
“十三能织素,十四学裁衣,十五弹箜篌,十六诵诗书。十七为君妇,心中常苦悲。君既为府吏,守节情不移。贱妾留空房,相见常日稀。鸡鸣入机织,夜夜不得息。三日断五匹,大人故嫌迟。非为织作迟,君家妇难为!妾不堪驱使,徒留无所施。便可白公姥,及时相遣归。”
府吏得闻之,堂上启阿母:“儿已薄禄相,幸复得此妇,结发同枕席,黄泉共为友。共事二三年,始尔未为久。女行无偏斜,何意致不厚?”
阿母谓府吏:“何乃太区区!此妇无礼节,举动自专由21。吾意久怀忿,汝岂得自由!东家有贤22女,自名秦罗敷,可怜体无比,阿母为汝求。便可速遣之,遣去慎莫留!”
府吏长跪告:“伏惟启阿母,今若遣此妇,终老不复取!”
阿母得闻之,槌床便大怒:“小子无所畏,何敢助妇语!吾已失恩义,会不相从许!”
府吏默无声,再拜还入户。举言谓新妇,哽咽不能语:“我自不驱卿,逼迫有阿母。卿但暂还家,吾今且报府。不久当归还,还必相迎取。以此下心意,慎勿违吾语。”
新妇谓府吏:“勿复重纷纭。往昔初阳岁,谢家来贵门。奉事循公姥,进止敢自专?昼夜勤作息,伶俜萦苦辛。谓言无罪过,供养卒大恩;仍更被驱遣,何言复来还!妾有绣腰襦,葳蕤自生光;红罗复斗帐,四角垂香囊;箱帘六七十,绿碧青丝绳,物物各自异,种种在其中。人贱物亦鄙,不足迎后人,留待作遗施,于今无会因。时时为安慰,久久莫相忘!”
鸡鸣外欲曙,新妇起严妆。著我绣夹裙,事事四五通。足下蹑丝履,头上玳(dài)瑁(mào)光。腰若流纨素,耳著明月珰。指如削葱根,口如含朱丹。纤纤作细步,精妙世无双。
上堂拜阿母,阿母怒不止。“昔作女儿时,生小出野里。本自无教训,兼愧贵家子。受母钱帛多,不堪母驱使。今日还家去,念母劳家里。”却与小姑别,泪落连珠子。“新妇初来时,小姑始扶床;今日被驱遣,小姑如我长。勤心养公姥,好自相扶将。初七及下九,嬉戏莫相忘。”出门登车去,涕落百余行。
府吏马在前,新妇车在后。隐隐何甸甸,俱会大道口。下马入车中,低头共耳语:“誓不相隔卿,且暂还家去;吾今且赴府,不久当还归。誓天不相负!”
新妇谓府吏:“感君区区怀!君既若见录,不久望君来。君当作磐石,妾当作蒲苇,蒲苇纫如丝,磐石无转移。我有亲父兄,性行暴如雷,恐不任我意,逆以煎我怀。”举手长劳劳,二情同依依。
入门上家堂,进退无颜仪。阿母大拊掌,不图子自归:“十三教汝织,十四能裁衣,十五弹箜篌,十六知礼仪,十七遣汝嫁,谓言无誓违。汝今何罪过,不迎而自归?”兰芝惭阿母:“儿实无罪过。”阿母大悲摧。
还家十余日,县令遣媒来。云有第三郎,窈窕世无双。年始十八九,便言多令才。
阿母谓阿女:“汝可去应之。”
阿女含泪答:“兰芝初还时,府吏见丁宁,结誓不别离。今日违情义,恐此事非奇。自可断来信,徐徐更谓之。”
阿母白媒人:“贫贱有此女,始适还家门。不堪吏人妇,岂合令郎君?幸可广问讯,不得便相许。”
媒人去数日,寻遣丞请还,说有兰家女,丞籍有宦官。云有第五郎,娇逸未有婚。遣丞为媒人,主簿通语言。直说太守家,有此令郎君,既欲结大义,故遣来贵门。
阿母谢媒人:“女子先有誓,老姥岂敢言!”
阿兄得闻之,怅然心中烦。举言谓阿妹:“作计何不量!先嫁得府吏,后嫁得郎君,否泰如天地,足以荣汝身。不嫁义郎体,其往欲何云?”
兰芝仰头答:“理实如兄言。谢家事夫婿,中道还兄门。处分适兄意,那得自任专!虽与府吏要,渠会永无缘。登即相许和,便可作婚姻。“
媒人下床去,诺诺复尔尔。还部白府君:“下官奉使命,言谈大有缘。”府君得闻之,心中大欢喜。视历复开书,便利此月内,六合正相应。良吉三十日,今已二十七,卿可去成婚。交语速装束,络绎如浮云。青雀白鹄舫,四角龙子幡。婀娜随风转,金车玉作轮。踯躅青骢马,流苏金镂鞍。赍钱三百万,皆用青丝穿。杂彩三百匹,交广市鲑珍。从人四五百,郁郁登郡门。
阿母谓阿女:“适得府君书,明日来迎汝。何不作衣裳?莫令事不举!”
阿女默无声,手巾掩口啼,泪落便如泻。移我琉璃榻,出置前窗下。左手持刀尺,右手执绫罗。朝成绣夹裙,晚成单罗衫。晻晻日欲暝,愁思出门啼。
府吏闻此变,因求假暂归。未至二三里,摧藏马悲哀。新妇识马声,蹑履相逢迎。怅然遥相望,知是故人来。举手拍马鞍,嗟叹使心伤:“自君别我后,人事不可量。果不如先愿,又非君所详。我有亲父母,逼迫兼弟兄。以我应他人,君还何所望!”
府吏谓新妇:“贺卿得高迁!磐石方且厚,可以卒千年;蒲苇一时纫,便作旦夕间。卿当日胜贵,吾独向黄泉!”
新妇谓府吏:“何意出此言!同是被逼迫,君尔妾亦然。黄泉下相见,勿违今日言!”执手分道去,各各还家门。生人作死别,恨恨那可论?念与世间辞,千万不复全!
府吏还家去,上堂拜阿母:“今日大风寒,寒风摧树木,严霜结庭兰。儿今日冥冥,令母在后单。故作不良计,勿复怨鬼神!命如南山石,四体康且直!”
阿母得闻之,零泪应声落:“汝是大家子,仕宦于台阁。慎勿为妇死,贵贱情何薄!东家有贤女,窈窕艳城郭,阿母为汝求,便复在旦夕。”
府吏再拜还,长叹空房中,作计乃尔立。转头向户里,渐见愁煎迫。
其日牛马嘶,新妇入青庐。奄奄黄昏后,寂寂人定初。“我命绝今日,魂去尸长留!”揽裙脱丝履,举身赴清池。
府吏闻此事,心知长别离。徘徊庭树下,自挂东南枝。

两家求合葬,合葬华山傍。东西植松柏,左右种梧桐。枝枝相覆盖,叶叶相交通。中有双飞鸟,自名为鸳鸯。仰头相向鸣,夜夜达五更。行人驻足听,寡妇起彷徨。多谢后世人,戒之慎勿忘!

https://baike.baidu.com/item/%E5%AD%94%E9%9B%80%E4%B8%9C%E5%8D%97%E9%A3%9E/29019

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《箜篌引》
(Konghou Yin)

作者:曹植(三国 – 魏)
by Cao Zhi (Three Kingdoms:  Wei, 192-232)

置酒高殿上,亲友从我游。
中厨办丰膳,烹羊宰肥牛。
秦筝何慷慨,齐瑟和且柔。
阳阿奏奇舞,京洛出名讴。
乐饮过三爵,缓带倾庶羞。
主称千金寿,宾奉万年酬。
久要不可忘,薄终义所尤。
谦谦君子德,磬折欲何求。
惊风飘白日,光景驰西流。
盛时不再来,百年忽我遒。
生存华屋处,零落归山丘。
先民谁不死,知命复何忧。

Notes:

The konghou mentioned in this poem's title is most likely the fretted zither known as wo konghou (卧箜篌) rather than the angular harp later known as shu konghou (竖箜篌).  Qin was an ancient state of northwest China, centered on today's Shaanxi province; the zheng is often referred to in historical literature as Qin zheng based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.

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《拟意》
作者:李商隐(唐)
by Li Shangyin (Tang Dynasty, 813-858)

怅望逢张女,迟回送阿侯。
空看小垂手,忍问大刀头。
妙选茱萸帐,平居翡翠楼。
云屏不取暖,月扇未遮羞。
上掌真何有,倾城岂自由。
楚妃交荐枕,汉后共藏阄。
夫向羊车觅,男从凤穴求。
书成祓禊帖,唱杀畔牢愁。
夜杵鸣江练,春刀解若榴。
象床穿幰网,犀帖钉窗油。
仁寿遗明镜,陈仓拂彩球。
真防舞如意,佯盖卧箜篌。
濯锦桃花水,溅裙杜若洲。
鱼儿悬宝剑,燕子合金瓯。
银箭催摇落,华筵惨去留。
几时销薄怒,从此抱离忧。
帆落啼猿峡,樽开画鹢舟。
急弦肠对断,翦蜡泪争流。
璧马谁能带,金虫不复收。
银河扑醉眼,珠串咽歌喉。
去梦随川后,来风贮石邮。
兰丛衔露重,榆荚点星稠。
解佩无遗迹,凌波有旧游。
曾来十九首,私谶咏牵牛。

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《题建州富沙门楼安济桥十绝呈太守黄彦发 其三 安济桥五绝》
作者:刘弇(北宋)
by Liu Yan (Northern Song Dynasty, 1048-1102)

跨海鳌身传洛阳,贴波虹影老吴江。

未如截取玻瓈去,稳卧箜篌白玉腔。

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《江都曲》
作者:石珝, 石珤, or 石宝(明)
by Shi Xu or Shi Bao (Ming Dynasty)

金篦吹笙绛裤讴,君王自理卧箜篌。
夜深未唤憨憨寝,一曲归飞万里愁。

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《塞上》
(Sai Shang)
作者:郑伯兴 (明)
by Zheng Boxing (Ming Dynasty)

绝塞万山秋,筹边更筑楼。
马肥春苜蓿,人醉卧箜篌。
图画云台列,功名铁柱留。
上公蒙宠异,方赐紫云裘。

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Bibliography

● Nakayasu, Mari 中安 真理.  Kugo no kenkyū:  higashiajia no jiin shōgon to gengakki.  『箜篌の研究 ー東アジアの寺院荘厳と絃楽器ー』.  Kyoto:  Shibunkaku Publishing 思文閣出版, 2016.  ISBN:  9784784218493.
 Nelson, Steven G. (スティーヴン・G・ネルソン).  Review of Kugo no kenkyū:  higashiajia no jiin shōgon to gengakki.  『箜篌の研究 ー東アジアの寺院荘厳と絃楽器ー』 by Nakayasu Mari (Kyoto:  Shibunkaku Publishing 思文閣出版, 2016).  In Tōyō Ongaku Kenkyū 東洋音楽研究, no. 82 (August 2017).

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Overview of Nakayasu Mari's research:

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Thanks to Steven G. Nelson for assistance with this page.

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