Musical instrument: ruanxian
(阮咸)
compiled by David Badagnani (rev. 25 November 2022)
(阮咸)
compiled by David Badagnani (rev. 25 November 2022)
In an effort to make this information more accessible, this document contains resources related to the Chinese musical instrument called ruanxian (阮咸)--a long-necked fretted lute with round (moon-shaped) body--as documented in the Chinese historical record.
The instrument is named for Ruan Xian (阮咸, fl. 3rd century), a scholar and musician of the Wei and Jin dynasties from Henan province, and one of the famous Seven Sages of the Bamboo Grove. In Ruan's time, the round-bodied lute was known as Qin pipa (秦琵琶), and the first mention of this instrument name appears in Tongdian《通典》(766-801).
As transmitted to Japan, this instrument is called genkan (阮咸 / げんかん), and in Korea it is called wanham (완함 / 阮咸). In later periods, Korean round-bodied lutes are referred to as wolgeum (월금 / 月琴), equivalent to the Chinese yueqin (月琴).
Links to textual sources are highlighted in green.
----------------------------------------------
Chinese historical reference works discussing the ruanxian
Chinese historical reference works discussing the ruanxian
● Tongdian 《通典》 (Comprehensive Institutions)
Written by Tang Dynasty scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian includes some discussion of the ruanxian, as follows:
卷第一百四十四
Volume Number 144
樂四
阮咸，亦秦琵琶也，而項長過於今制，列十有三柱。武太后時，蜀人蒯朗於古墓中得之，晉竹林七賢圖阮咸所彈與此類同，因謂之阮咸。咸，晉世實以善琵琶、知音律稱。蒯朗初得銅者，時莫有識之。太常少卿元行沖曰：「此阮咸所造。」乃令匠人改以木為之，聲甚清雅。
卷第一百四十六
Volume Number 146
Volume Number 146
樂六
清樂者，其始即清商三調是也，並漢氏以來舊曲。樂器形制，并歌章古調，與魏三祖所作者，皆備於史籍。屬晉朝遷播，夷羯竊據，其音分散。苻永固平張氏，於涼州得之。宋武平關中，因而入南，不復存於內地。及隋平陳後獲之。文帝聽之，善其節奏，曰：「此華夏正聲也。昔因永嘉，流於江外，我受天明命，今復會同。雖賞逐時遷，而古致猶在。可以此為本，微更損益，去其哀怨，考而補之。以新定呂律，更造樂器。」因置清商署，總謂之清樂。
先遭梁、陳亡亂，而所存蓋尠。隋室以來，日益淪缺。大唐武太后之時，猶六十三曲。今其辭存者有：白雪、公莫、巴渝、明君、明之君、鐸舞、白鳩、白紵、子夜、吳聲四時歌、前溪、阿子歡聞、團扇、懊壟、長史變、督護、讀曲、烏夜啼、石城、莫愁、襄陽、棲烏夜飛、估客、楊叛、雅歌、驍壺、常林歡、三洲采桑、春江花月夜、玉樹後庭花、堂堂、泛龍舟等共三十二曲。明之君、雅歌各二首，四時歌四首，合三十七曲。其吳聲四時歌、雜歌、春江花月夜並未詳所起，餘具前歌舞雜曲之篇。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。
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。
Detail of cave mural depicting an apsara musician (Chinese: feitian yueji, 飞天乐伎) playing a ruanxian. Ceiling of Cave 461 (莫高窟461窟 or 莫高窟第461窟), Mogao Caves, southeast of Dunhuang, Jiuquan, northwestern Gansu province, northwest China. Western Wei Dynasty (535-556 or 557) or Northern Zhou Dynasty (557-581).
● Taiping Guangji《太平广记》(Extensive Records of the Taiping Era)
Taiping Guangji is a collection of stories compiled in the early Northern Song dynasty under imperial direction by the scholar and bureaucrat Li Fang (李昉, 925-996). The work was completed in 978 and printing blocks were cut, but it was prevented from publication on the grounds that it contained only xiaoshuo (fiction or "insignificant tellings") and thus "was of no use to young students." It survived in manuscript form until it was eventually published in the Ming Dynasty. The collection, which is considered one of the Four Great Books of Song, is divided into 500 volumes and consists of about 3 million Chinese characters. It includes about 7,000 stories selected from over 300 books and novels from the Han Dynasty to the early Song Dynasty, many of which have been lost. Some stories are historical or naturalistic anecdotes, and each is replete with historical elements, and were not regarded by their authors as fiction, but the topics are mostly supernatural, about Buddhist and Taoist priests, immortals, ghosts, and various deities. They include a number of Tang Dynasty stories, especially chuanqi (tales of wonder), that are famous works of literature in their own right, and also inspired later works. The ruanxian is mentioned in volume 195, as follows:
Taiping Guangji is a collection of stories compiled in the early Northern Song dynasty under imperial direction by the scholar and bureaucrat Li Fang (李昉, 925-996). The work was completed in 978 and printing blocks were cut, but it was prevented from publication on the grounds that it contained only xiaoshuo (fiction or "insignificant tellings") and thus "was of no use to young students." It survived in manuscript form until it was eventually published in the Ming Dynasty. The collection, which is considered one of the Four Great Books of Song, is divided into 500 volumes and consists of about 3 million Chinese characters. It includes about 7,000 stories selected from over 300 books and novels from the Han Dynasty to the early Song Dynasty, many of which have been lost. Some stories are historical or naturalistic anecdotes, and each is replete with historical elements, and were not regarded by their authors as fiction, but the topics are mostly supernatural, about Buddhist and Taoist priests, immortals, ghosts, and various deities. They include a number of Tang Dynasty stories, especially chuanqi (tales of wonder), that are famous works of literature in their own right, and also inspired later works. The ruanxian is mentioned in volume 195, as follows:
卷第一百九十五
豪侠三
红线
唐潞州节度使薛嵩家青衣红线者善弹阮咸，又通经史。嵩乃俾掌其笺表，号曰内记室。时军中大宴，红线谓嵩曰："羯鼓之声，颇甚悲切，其击者必有事也。"嵩素晓音律，曰："如汝所言。"乃召而问之，云："某妻昨夜身亡，不敢求假。"嵩遽放归。是时至德之后两河未宁，以淦阳为镇，命嵩固守，控压山东。杀伤之余，军府草创。朝廷命嵩遣女嫁魏博节度使田承嗣男，又遣嵩男娶滑亳节度使令狐章女。三镇交为姻娅，使使日浃往来。而田承嗣常患肺气，遇热增剧。每曰："我若移镇山东，纳其凉冷，可以延数年之命。"乃募军中武勇十倍者，得三千人，号外宅男，而厚其恤养。常令三百人夜直州宅，卜选良日，将并潞州。嵩闻之，日夜忧闷，咄咄自语，计无所出。时夜漏将传，辕门已闭，杖策庭际，唯红线从焉。红线曰："主自一月，不遑寝食。意有所属，岂非邻境乎？"嵩曰："事系安危，非尔能料。"红线曰："某诚贱品，亦能解主忧者。"嵩闻其语异，乃曰："我知汝是异人，我暗昧也。"遂具告其事曰："我承祖父遗业，受国家重恩，一旦失其疆土，即数百年勋伐尽矣。"红线曰："此易与耳，不足劳主忧焉。暂放某一到魏城，观其形势，觇其有无。今一更首途，二更可以复命。请先定一起马使，具寒喧书。其他即待某却回也。"嵩曰："然事或不济，反速其祸，又如之何？"红线曰："某之此行，无不济也。"乃入闱房，饬其行具。乃梳乌蛮髻，贯金雀钗，衣紫绣短袍，系青丝轻履，胸前佩龙文匕首，额上书太一神名。再拜而名，倏忽不见。嵩返身闭户，背烛危坐。常时饮酒，不过数合。是夕举觞，十余不醉。忽闻晓角吟风，一叶坠露。惊而起问，即红线回矣。嵩喜而慰劳曰："事谐否？"红线曰："不敢辱命。"又问曰："无伤杀否？"曰："不至是，但取床头金合为信耳。"红线曰，某子夜前二刻，即达魏城，凡历数门，遂及寝所。闻外宅儿止于房廊，睡声雷动。见中军士卒，徒步于庭，传叫风生。乃发其左扉，抵其寝帐。田亲家翁止于帐内，鼓跌酣眠，头枕文犀，髻包黄彀，枕前露一星剑，剑前仰开一金合，合内书生身甲子，与北斗神名。复以名香美珠，散覆其上。然则扬威玉帐，坦其心豁于生前。熟寝兰堂，不觉命悬于手下。宁劳擒纵，只益伤嗟。时则蜡炬烟微，炉香烬委，侍人四布，兵器交罗。或头触屏风，鼾而亸者；或手持巾拂，寝而伸者。某乃拔其簪珥，縻其襦裳，如病如醒，皆不能寤。遂持金合以归。出魏城西门，将行二百里，见铜台高揭，漳水东流，晨鸡动野，斜月在林。忿往喜还，顿忘于行役。感知酧德，聊副于依归。所以当夜漏三时，往返七百里，入危邦一道，经过五六城，冀减主忧，敢言其苦。嵩乃发使入魏，遗田承嗣书曰："昨夜有客从魏中来云，自元帅床头获一金合，不敢留驻，谨却封纳。"专使星驰，夜半方到。见搜捕金合，一军忧疑。使者以马棰挝门，非时请见。承嗣遽出，使者乃以金合授之。捧承之时，惊怛绝倒。遂留使者，止于宅中，狎以宴私，多其赐赍。明日，专遣使赍帛三万匹、名马二百匹、杂珍异等，以献于嵩曰："某之首领，系在恩私。便宜知过自新，不复更贻伊戚。专膺指使，敢议亲姻。彼（按《甘泽谣》"彼"作"役"）当捧毂后车，来在麾鞭前马，所置纪纲外宅儿者，本防他盗，亦非异图。今并脱其甲裳，放归田亩矣。"由是一两个月内，河北河南信使交至。忽一日，红线辞去。嵩曰："汝生我家，今欲安往？又方赖于汝，岂可议行。"红线曰："某前本男子，游学江湖间，读神农药书，而救世人灾患。时里有孕妇，忽患盅症，某以芫花酒下之，妇人与腹中二子俱毙。是某一举杀其三人，阴力见诛，降为女子，使身居贱隶，气禀凡俚。幸生于公家，今十九年矣。身厌罗绮，口穷甘鲜。宠待有加，荣亦甚矣。况国家建极，庆且无疆。此即违天，理当尽弭。昨往魏邦，以是报思。今两地保其城池，万人全其性命，使乱臣知惧，烈士谋安，在某一妇人，功亦不小，固可赎其前罪，还其本形。便当遁迹尘中，栖心物外，澄清一气，生死长存。"嵩曰："不然，以千金为居山之所。"红线曰："事关来世，安可预谋。"嵩知不可留，乃广为饯别，悉集宾友，夜宴中堂。嵩以歌送红线酒，请座客冷朝阳为词。词曰："采菱歌怨木兰舟，送客魂消百尺楼。还似洛妃乘雾去，碧天无际水空流。歌竟，嵩不胜其悲，红线拜且泣。因伪醉离席，遂亡所在。（出《甘泽谣》）
【译文】
唐朝，潞州节度使薛嵩家一婢女名红线，她很会弹琵琶，又懂四书五经。薛嵩让她管理各种文书，称为内记室。有一次军中宴会上，红线对薛嵩说："听这鼓声很悲凉，这打鼓的人必定有心事。"薛嵩平时也懂音乐，说："你说得很对。"于是，找来打鼓人一问，他说："昨晚我妻子死了，我没敢请假。"薛嵩听完就让他回家了。这时正是唐肃宗至德年间，河南、河北一带很不安宁。朝廷命令薛嵩守卫淦阳，并控制山东。战争刚过，军府初建，朝廷命薛嵩将女儿嫁给魏博节度使田承嗣的儿子，又让他的儿子娶滑亳节度使令狐章的女儿。使淦阳、魏博、滑亳三镇联姻，经常派使相互往来。魏博节度使田承嗣肺部患病，天热就严重。他常说："我若驻守山东，那里天气比较凉快，我还能多活几年。"于是，他从军中选拔了三千勇士，称为外宅男，给其优厚的待遇。他命令三百人在衙门口和宅院内值班，并选择适当时机，想吞并潞州。薛嵩知道这消息后，日夜忧愁，常自言自语，却想不出好办法。一天夜晚，军营的大门已经关闭，薛嵩拄着拐杖到庭院，只有红线跟在身后。红线说："您这一个多月寝食不安，好像有心事，是不是因为田承嗣的事？"薛嵩说："事关安危，不是你能处理的。"红线说："我虽为奴婢，也能为您解除忧愁。"薛嵩听她的话语不一般，便说："我知你不是一般人，我心中有数。"他便把具体事都告诉了红线，我继承祖父的大业，承受国家的恩惠，一旦将镇守的疆土丢掉了，几百年的功勋都丧失了。红线说："这事好办，不用这样忧愁。您先让我去趟魏城，观察下形势，探探虚实。一更去，二更便可回来。请您先准备好一个使者和一匹马、一封问候信，其它事情等回来再说。"薛嵩说："这事若办不好，反会招来祸，那怎么办？"红线说："我此去定能办好。"说完回到自己屋中，准备行具，梳洗打扮，梳一个乌蛮髻，头插金雀钗，身穿紫色绣花短袍，腰系青丝带，脚登轻便靴，胸前佩龙文匕首，前额上写着太一神名。向薛嵩拜了拜，转眼不见了。薛嵩回屋关门，背灯而坐，独自饮酒，薛嵩平日不善饮酒，但这一晚上喝了很多酒，没醉。忽然听到一阵晨风吹过，好似有片树叶落下来，他惊起，却是红线回来了。薛嵩高兴地问："事办的怎么样？"红线说："我怎敢完不成使命。"薛嵩又问："没伤害人吗？"红线说："用不着，我把田承嗣床头的金盒拿来了。我半夜前就到了魏城，过了几道门，便到了他睡觉的地方，听到外宅男在走廊上睡觉，鼾声如雷。中军士兵在院中走动，互相打招呼。我开了左门，到了他床前，您亲家公躺在床上，露着脚睡得正香，头裹黄巾，枕花枕头，枕前露一把短剑，短剑前有一个开着的金盒。盒内写着他的生辰八字和北斗神名，上面盖着香料和珍珠。看他那熟睡的样子，他没想到他的性命就在我手下，杀他是很容易的事，我怕那样惹来麻烦。这时，腊烛快要熄灭，香炉的香已燃烬，他的侍者四散了，兵器扔在了一起，有人头碰屏风，鼾声大作，有的手持汗巾、毛掸睡着了。我拔他们的头簪、耳环，摸他们的衣服，都像有病似的不能醒来。我便拿金盒回来了。出魏城西门，走了二百多里，隐约看见城墙上的铜台，漳水向东流去，月上林梢，晨鸡鸣动。去时很忿怒，回来时很高兴，忘记了疲劳。为了感谢您的恩德。我不顾半夜三更，往返七百里，不怕危险，走过了五六座城，希望减少您的忧虑，我怎敢说辛苦？"于是，薛嵩派人到魏城，给田承嗣送了一封信，信上说："昨晚有人从魏城来，从您床头上拿了一个金盒，我不敢留下，特派专使连夜送还。使者半夜到魏城，只是为了寻找金盒，为了搜捕盗金盒的人，军人都在忙碌着。使者用马鞭敲门，他们认为在这非常时刻求见，一定是有要事，田承嗣急忙出来，使者把金盒给他，他捧着金盒，惊异得几乎晕倒。留下了使者，请到厅内，设宴款待，给使者很多赏赐。第二天，专门派人带了三万匹布，二百匹好马，还有一些珍贵的东西，献给薛嵩。并转告薛嵩，多亏他不记私怨，我才保住了性命，我要悔过自新，不再连累亲戚，我专门派人去商量孩子的婚事，叫我儿子厚待他的女儿，我招募的外宅儿，本是为防盗，没别的企图，现在叫他们脱掉军装，回家种地。以后的一两个月内，河北、河南信使经常来往。忽然一日，红线要辞别。薛嵩说："你生在我家，你想上哪？我还要依靠你，你怎么能走呢？"红线说："我前世是个男子，周游四方，寻求学问，读过神农的药书，给世人看病消灾。当时有一孕妇，肚内生了虫子，我给她服了芫花酒，妇人和腹中的双胞胎都死了。我一次杀了三个人，阴曹地府为了惩罚我，变为女子，贬为奴婢。幸亏生在您家，已经十九啦，穿够了绸缎，吃尽了美味，您对我特别宠爱，给了我很多荣誉。现在您管辖的疆土太平，人们安居乐业，我应该留在这里，可这样违背了天意，昨天去魏城，是为了报恩。现在两地都保住了城池，人们的性命也安全了。乱臣知道惧怕，刚烈正直的人得到了保障，对我一个女人来说，功也不算小，可以赎我的前罪，还我男儿身，我想离开尘世，成仙得道，生死长存。"薛嵩说："不能这样，你一个小姐之身怎么能住在山里呢？"红线说："为了来世，我怎能久留？"薛嵩知道不能留住，便为她饯别，集合宾朋好友，夜宴中堂。为了助酒兴，薛嵩请在座的冷朝阳作词，其词是：采菱歌怨木兰舟，送客魂消百尺楼。还似洛妃乘雾去，碧天无际水空流。唱完，薛嵩非常悲痛，红线边哭边拜，托辞醉了，离开了宴席，从此，不知去了哪里。
● Wenxian Tongkao 《文献通考》 (Comprehensive Examination of Literature)
Compiled in the early 14th century by Ma Duanlin (马端临), this work contains a list and descriptions (though no illustrations) of many ancient and Medieval musical instruments. There is some description of the ruanxian, as follows:
卷一百三十七
Volume 137
乐考十
[ ... ]
丝之属俗部
月琴（五弦十三柱，形似琵琶） 月琴形圆项长，上按四弦，十三品柱，豪琴之徽，转弦应律，晋阮咸造也。唐太宗更加一弦，名其弦曰金、木、水、火、土。自开元中编入雅乐用之，岂得舜之遗制欤！
[ ... ]
阮咸琵琵 阮咸五弦，此秦琵琶，而颈长过之，列十二柱焉。
唐武后时，蒯明於古冢得铜琵琶，晋阮咸所造也。
元亨中，命工以木为之，声甚清彻，颇类竹林七贤图所造旧器，因以阮咸名之，亦以其善弹故也。宋朝太宗旧制，四弦上加一弦，散吕五音（吕弦之调有数法，大弦为宫，是正声，或为下徵，或为下羽），院类琴，有浊、中、清三倍声。上隔四柱，浊声也，应琴下晖；中隔四柱，中声也，类琴中晖；下晖下隔四柱，清声也，类琴上晖。今太常乐工俗谱，按中隔第一弦（第一柱下按黄锺，第二柱下按大吕）、第二弦（第一柱上按太簇，第一柱下按夹锺，第二柱上按姑洗，第三柱下按仲吕）、第三弦（第一柱上按蕤宾，第一柱下按林锺，第二柱上按夷则，第三柱下按南吕）、第四弦（第一柱下按无射）、第五弦（第一柱下按应锺，第二柱是黄锺清，三柱是大吕清，第四柱是太蔟清，所有夹锺清在下隔也）。凡此本应五音，非有浊、中、清之别也。今诚去四清声以合五音，则舜琴亦不是过也。
● Haixiao Shuoci 《海绡说词》 (Haixiao's Discourses on Ci Poetry), by the Ming Dynasty scholar-official Chen Xun (陈洵, b. 1445), mentions the ruan in passing, as follows:
○贵拙
The Value of Simplicity
唐五代令词，极有拙致，北宋犹近之。南渡以后，虽极名隽，气而质不逮矣。昔朱复古善弹琴，言琴须带拙声，若太巧，即与筝阮何异。此意愿与声家参之。
Lyrics in Tang and Five Dynasties times were extremely simple and unadorned in style; those of the Northern Song were just about the same. After the southward migration [following the fall of the Northern Song Dynasty], although they still enjoyed great renown for their outstanding talents, their temperament and quality were not as good. The late Zhu Fugu, who was a fine qin player, said that the qin should have a simple and unadorned sound; if it were too elaborate and technical, it wouldn't be any different from a zheng or ruan. This ideal is one that lyricists should [also] use as a reference.
Lyrics in Tang and Five Dynasties times were extremely simple and unadorned in style; those of the Northern Song were just about the same. After the southward migration [following the fall of the Northern Song Dynasty], although they still enjoyed great renown for their outstanding talents, their temperament and quality were not as good. The late Zhu Fugu, who was a fine qin player, said that the qin should have a simple and unadorned sound; if it were too elaborate and technical, it wouldn't be any different from a zheng or ruan. This ideal is one that lyricists should [also] use as a reference.
● 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 ruanxian is mentioned as follows:
Detail of unidentified scroll painting depicting showing people engaged in various intellectual activities in nature. Collection of the National Palace Museum, Taipei, Taiwan. Photo by Mike Hovancsek.
---------------------------------------------
Chinese poems mentioning the ruanxian
《和令狐仆射小饮听阮咸》
Having a Little Drink and Listening to the Ruanxian with the Deputy Minister of Linghu
(He Linghu Puye Xiao Yin Ting Ruanxian)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
掩抑复凄清，非琴不是筝。
Gloom and melancholy compounded with misery and desolation;
掩抑复凄清，非琴不是筝。
Gloom and melancholy compounded with misery and desolation;
It's not a qin, and neither is it a zheng.
还弹乐府曲，别占阮家名。
It still plays yuefu songs,
It still plays yuefu songs,
And also bears the Ruan family name.
古调何人识，初闻满座惊。
Of ancient melodies, who [today] knows them?
Of ancient melodies, who [today] knows them?
[Yet] upon first listen, all those in attendance are awestruck.
落盘珠历历，摇佩玉琤琤。
Pearls fall on a platter, one by one;
Shaken pendants of jade jangle.
似劝杯中物，如含林下情。
似劝杯中物，如含林下情。
As if to urge [listeners to drain] the contents of their winecups,
Or to harbor emotions [such as one might feel while lying] beneath a grove [of flowering plum trees].
时移音律改，岂是昔时声。
As the times change, so too does music;
How can this be the sound of former times?
* * * * * * * * *
《和令狐相公南斋小宴听阮咸》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)
阮巷久芜沉，四弦有遗音。
雅声发兰室，远思含竹林。
座绝众宾语，庭移芳树阴。
飞觞助真气，寂听无流心。
影似白团扇，调谐朱弦琴。
一毫不平意，幽怨古犹今。
"Ting Ruan Tu" 《听阮图》 (Painting: Listening to the Ruan), painted in 1943 by Fu Baoshi (傅抱石, 1904-1965). Ink and color on paper, mounted.
34.4 x 23 in. (87.5 x 58.5 cm).
Historical specimens
There exists in the collection of the Shōsōin Repository (正倉院) of Nara, Japan a richly decorated ruanxian, which is believed to have been made in China during the 8th century (mid-Tang Dynasty), and sent as a royal gift to the Japanese emperor Shōmu (r. 724-749) from his counterpart, the Chinese emperor Xuanzong (r. 713-756). In Japanese, this instrument is called Raden shitan no genkan (螺鈿紫檀阮咸 / らでんしたんのげんかん）.
More information:
Another ruanxian in the Shōsōin Repository is of unknown provenance, but said to have formerly been used by a player of zatsugaku (雑楽), a Japanese term describing entertainment music other than gagaku.
Ruanxian used by the Datong Yuehui (大同乐会, Great Unity Music Society) of Shanghai, China (c. 1920s-1930s).
Detail of photograph of the Great Unity Music Society (Datong Yuehui, 大同乐会) of Shanghai, China, showing the ensemble's two ruanxian players. Photo probably taken in Shanghai, China, April 9, 1933, during the filming of a documentary made by the Mingxing Film Company (明星影片公司), which was sent to the 1933 Chicago World's Fair. The musician on the right is Jin Zuli (金祖礼, 1906-2000).
Historic photograph of the Great Unity Music Society (Datong Yuehui, 大同乐会) of Shanghai, China performing for a live radio broadcast. Photo taken at a radio station in China, c. fall or winter 1937.
The performers featured in this photo include:
● Xu Guangyi (许光毅, 1911-2000) - erhu, second from left
● Chen Tianle (陈天乐, 1919-1993) - ruan, third from left
● Wei Zhongle (卫仲乐, 1908 or 1909-1998) - center, standing
● Qin Pengzhang (秦鹏章, 1919-2002) - xiao, second from right
● Yu Yueting (俞越亭) - xiao, right
● Qin Pengzhang (秦鹏章, 1919-2002) - probably xiao, back row, second from right
● Chen Tianle (陈天乐, 1919-1993) - ruanxian
● Xu Guangyi (许光毅, 1911-2000) - erhu
● Wei Zhongle (卫仲乐, 1908 or 1909-1998) - se
---------------------------------------------
Bibliography
---------------------------------------------
Thanks to Peiyou Chang, Benjamin Daniels, David Fang, Lin Chiang-san, Jeff Loh, and Olivia Zhang for assistance with this page.
---------------------------------------------
Site index:
No comments:
Post a Comment