Musical instrument: shu konghou
(豎箜篌)
(豎箜篌)
compiled by David Badagnani (rev. 8 April 2023)
In an effort to make this information more accessible, this document contains resources related to the Chinese musical instrument called shu konghou (豎箜篌), also called simply konghou (箜篌)--an angular harp with up to 23 silk strings--as documented in the Chinese historical record.
Probably originating in Mesopotamia (Iraq) approximately 2000 BC, the angular harp achieved some degree of popularity in Ancient Egypt, Ancient Greece, and Ancient Rome, as well as the Arabic world, Anatolia, and continental Europe as far west as Spain by the Medieval period. Moving to the east and south it was also adopted in Gandhara and India proper, as well as in Central Asian states such as Bactria, Sogdiana, Kucha, Khotan, and Turfan. From Central Asia it was transmitted to China in the Northern and Southern Dynasties period (420-589), and from there to Korea and Japan.
Retaining popularity in China through the Sui, Tang, Five Dynasties and Ten Kingdoms, Song, and Yuan periods, the shu konghou is believed to have died out there after the end of the Ming Dynasty. Beginning in the 20th century, angular harps have been revived in China as well as in Germany, Egypt, Iran, Azerbaijan, Turkey, China, South Korea, Japan, and Mongolia.
Probably originating in Mesopotamia (Iraq) approximately 2000 BC, the angular harp achieved some degree of popularity in Ancient Egypt, Ancient Greece, and Ancient Rome, as well as the Arabic world, Anatolia, and continental Europe as far west as Spain by the Medieval period. Moving to the east and south it was also adopted in Gandhara and India proper, as well as in Central Asian states such as Bactria, Sogdiana, Kucha, Khotan, and Turfan. From Central Asia it was transmitted to China in the Northern and Southern Dynasties period (420-589), and from there to Korea and Japan.
Retaining popularity in China through the Sui, Tang, Five Dynasties and Ten Kingdoms, Song, and Yuan periods, the shu konghou is believed to have died out there after the end of the Ming Dynasty. Beginning in the 20th century, angular harps have been revived in China as well as in Germany, Egypt, Iran, Azerbaijan, Turkey, China, South Korea, Japan, and Mongolia.
Links to textual sources are highlighted in green.
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Chinese historical reference works discussing the shu konghou
Detail of mural depicting a musician playing a shu konghou. From the Zhaoling Mausoleum (昭陵唐墓), the burial place of Emperor Taizong of Tang (唐太宗, 598-649; r. 626-649), the second emperor of the Tang Dynasty, located at Jiuzong Mountain (九嵕山), 76 km northwest of Xi'an, near Liquan County (礼泉县), Shaanxi province (陕西省), northwest China.
Chinese historical reference works discussing the shu konghou
● 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 shu konghou, as follows:
卷第一百四十四
Volume Number 144
樂四
豎箜篌，胡樂也。漢靈帝好之。體曲而長，二十二絃，豎抱於懷中，用兩手齊奏，俗謂之擘箜篌。鳳首箜篌，頸有軫。
● 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 shu konghou, as follows:
卷一百三十七 乐考十
Volume 137
丝之属胡部
[ ... ]
大箜篌 小箜篌
刘熙《释名》曰："箜篌，师延所作靡靡之乐，盖空国之侯所存也。後出桑间、濮上，师涓为晋平公鼓焉。郑、卫分其地而有之，因命淫乐为郑、卫焉。"或谓汉武使乐人侯晖作坎侯，盖取其声坎坎以应乐节，後世声讹为箜篌尔。二说盖有所受之也。旧说皆如琴制，唐制似瑟而小，其弦有七，用木拨弹之以合二变，故燕乐有大箜篌、小箜篌。音逐手起，曲随弦成，盖若鹤鸣之嘹唳，玉声之清越者也。然非夷狄之制则郑、卫之音，非燕乐所当用也。或谓取其空中名之，其臆说欤！昔有白首翁溺於河，其妻丽玉素善十三弦箜篌，作为《公无渡河曲》以寄哀情。唐咸亨初，初第一部有张小子，太和初有李齐皋及其女并善此伎，教坊虽亦有人，能者未有一二尔。
按：箜篌或以为师延所作靡靡之乐，盖郑、卫之淫声也。或以为汉武帝使乐人侯调作之，以祠太一，盖汉世郊庙之乐，而非先王之雅乐也。然俱不言来自胡中，陈氏《乐书》以入胡部，未知何据，当考。
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。
● 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。
http://www.guoxue123.com/Shibu/0101/00msf/061.htm
● 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 shu konghou is mentioned as follows:
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。
http://www.guoxue123.com/Shibu/0101/00msf/061.htm
● 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 shu konghou is mentioned as follows:
樂律典 第一百十五卷
箜篌部彙考
https://tinyurl.com/yxvtqpvm
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Chinese poems mentioning the shu konghou
《偶然作六首 其五》
作者：王维（唐）
by Wang Wei (Tang Dynasty, 692-761 or 699-759)
赵女弹箜篌，复能邯郸舞。
夫婿轻薄儿，斗鸡事齐主。
黄金买歌笑，用钱不复数。
许史相经过，高门盈四牡。
客舍有儒生，昂藏出邹鲁。
读书三十年，腰间无尺组。
被服圣人教，一生自穷苦。
卢溪郡南夜泊舟，夜闻两岸羌戎讴。
其时月黑猿啾啾，微雨沾衣令人愁。
有一迁客登高楼，不言不寐弹箜篌。
弹作蓟门桑叶秋，风沙飒飒青冢头。
将军铁骢汗血流，深入匈奴战未休。
黄旗一点兵马收，乱杀胡人积如丘。
疮病驱来配边州，仍披漠北羔羊裘。
颜色饥枯掩面羞，眼眶泪滴深两眸。
思还本乡食犛牛，欲语不得指咽喉。
或有强壮能咿嚘，意说被他边将雠。
五世属藩汉主留，碧毛毡帐河曲游。
橐驼五万部落稠，敕赐飞凤金兜鍪。
为君百战如过筹，静扫阴山无鸟投。
家藏铁券特承优，黄金千斤不称求。
九族分离作楚囚，深溪寂寞弦苦幽。
草木悲感声飕飗，仆本东山为国忧。
明光殿前论九畴，簏读兵书尽冥搜。
为君掌上施权谋，洞晓山川无与俦。
紫宸诏发远怀柔，摇笔飞霜如夺钩。
鬼神不得知其由，怜爱苍生比蚍蜉。
朔河屯兵须渐抽，尽遣降来拜御沟。
便令海内休戈矛，何用班超定远侯，史臣书之得已不。
* * * * * * * * *
《冀州客舍酒酣贻王绮寄题南楼》
作者：岑参（唐）
by Cen Shen (Tang Dynasty, 715-770)
题注：时王子欲应制举西上
引用典故：下笔不休
夫子傲常调，诏书下徵求。
知君欲谒帝，秣马趋西周。
逸足何骎骎，美声实风流。
学富赡清词，下笔不能休。
君家一何盛，赫奕难为俦。
伯父四五人，同时为诸侯。
忆昨始相值，值君客贝丘。
相看复乘兴，携手到冀州。
前日在南县，与君上北楼。
野旷不见山，白日落草头。
客舍梨花繁，深花隐鸣鸠。
南邻新酒熟，有女弹箜篌。
醉后或狂歌，酒醒满离忧。
主人不相识，此地难淹留。
吾庐终南下，堪与王孙游。
何当肯相寻，澧上一孤舟。
* * * * * * * * *
《留别岑参兄弟》
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)
江城建业楼，山尽沧海头。
副职守兹县，东南棹孤舟。
长安故人宅，秣马经前秋。
便以风雪暮，还为纵饮留。
貂蝉七叶贵，鸿鹄万里游。
何必念钟鼎，所在烹肥牛。
为君啸一曲，且莫弹箜篌。
徒见枯者艳，谁言直如钩。
岑家双琼树，腾光难为俦。
谁言青门悲，俯期吴山幽。
日西石门峤，月吐金陵洲。
追随探灵怪，岂不骄王侯。
Notes:
引用典故：貂蝉 七叶贵 直如钩
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《听李凭弹箜篌二首》
Listening to Li Ping Play the Konghou, no. 2 (Ting Li Ping Tan Konghou Er Shou)
作者：杨巨源（唐）
by Yang Juyuan (Tang Dynasty, 755-c. 833)
引用典故：云门
听奏繁弦玉殿清，风传曲度禁林明。
君王听乐梨园煖，翻到云门第几声。
花咽娇莺玉漱泉，名高半在御筵前。
汉王欲助人间乐，从遣新声坠九天。
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《李供奉弹箜篌歌》
Court Artist Li Plays a Konghou Song (Li Gongfeng Tan Konghou Ge)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)
More information:
https://baike.baidu.com/item/%E6%9D%8E%E4%BE%9B%E5%A5%89%E5%BC%B9%E7%AE%9C%E7%AF%8C%E6%AD%8C
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《李凭箜篌引》
Li Ping's Konghou Prelude (Li Ping Konghou Yin)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790/791-816-817)
吴丝蜀桐张高秋，空山凝云颓不流。
Silk from Wu and tong from Shu resonate in the cool late autumn,
While in desolate mountain valleys, merging clouds sink and cease their drift.
江娥啼竹素女愁，李凭中国弹箜篌。
The River Maidens weep among the bamboos and the Plain Girl mourns,
As Li Ping, in the center of the kingdom, plays the konghou.
昆山玉碎凤凰叫，芙蓉泣露香兰笑。
Jade from Mount Kun is shattered and phoenixes shriek,
Lotuses weep dew while fragrant orchids smile.
十二门前融冷光，二十三丝动紫皇。
Before the twelve gates, the cold light melts,
As twenty-three silk [strings] move the Purple Emperor.
女娲炼石补天处，石破天惊逗秋雨。
As Nüwa welded stones to mend the sky,
Stone splits asunder, and the heavens are astonished amid autumn rains.
梦入神山教神妪，老鱼跳波瘦蛟舞。
He goes in dreams to the spirit mountain to instruct the Heavenly Muse,
While great fishes leap from the waves and gaunt dragons dance.
吴质不眠倚桂树，露脚斜飞湿寒兔。
Wu Zhi, unsleeping still, leans on his osmanthus tree,
As dewdrops, flying aslant, drench the shivering hare.
Notes:
This poem describes, in the most fanciful terms (and with the use of many allusions from Chinese mythology), the shu konghou (竖箜篌, angular harp) playing of Li Ping (李凭), a court musician whose gender is unknown. Until the 20th century twisted silk was the normal material used for the strings of Chinese chordophones, and tong (桐) is the Chinese word for paulownia, the wood that has been used for the soundboards of most Chinese string instruments since ancient times. Wu (吴) is the ancient name for Suzhou, a city famed for the quality of its silk, and Shu (蜀) is the ancient name for Sichuan in southwest China.
* * * * * * * * *
《楼上女儿曲》
作者：卢仝（唐）
by Lu Tong (Tang Dynasty, c. 795-835)
谁家女儿楼上头，指挥婢子挂帘钩。
林花撩乱心之愁，卷却罗袖弹箜篌。
箜篌历乱五六弦，罗袖掩面啼向天。
相思弦断情不断，落花纷纷心欲穿。
心欲穿，凭栏干。
相忆柳条绿，相思锦帐寒。
直缘感君恩爱一回顾，使我双泪长珊珊。
我有娇靥待君笑，我有娇蛾待君扫。
莺花烂熳君不来，及至君来花已老。
心肠寸断谁得知，玉阶幂历生青草。
* * * * * * * * *
《霓裳羽衣歌 和微之》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
我昔元和侍宪皇，曾陪内宴宴昭阳。
In the past, during the Yuanhe Reign, I served the Emperor Xianzong;
I once attended inner banquets thrown at Zhaoyang Palace.
千歌百舞不可数，就中最爱霓裳舞。
Thousands of songs and hundreds of dances, beyond counting;
Among them, my favorite was "Dance of Rainbow Skirts."
舞时寒食春风天，玉钩栏下香案前。
When dancing, it was the springtime “cold food” festival;
Beneath the railing of jade hook, in front of the incense burner table.
案前舞者颜如玉，不着人家俗衣服。
In front of the table were dancers with jade-like countenance;
Not wearing common clothes of regular people.
虹裳霞帔步摇冠，钿璎累累佩珊珊。
With rainbow skirt and rosy cape, they swayed their hats as they walk;
Ornaments of golden flowers were numerous, jade pendants clinking.
娉婷似不任罗绮，顾听乐悬行复止。
So graceful as if they cannot bear the silk gauze;
Turning around, listening to the suspended instruments, they walked and then stop.
磬箫筝笛递相搀，击擫弹吹声逦迤。
Chime stones, xiao, zheng, and di successively mingled together;
To beat, to press, to pluck, and to blow, the tunes were flowing.
散序六奏未动衣，阳台宿云慵不飞。
With six movements of loose-prelude, (dancers) did not yet stir their clothing;
On the sunny terrace, the night clouds were dull and not flying.
中序擘騞初入拍，秋竹竿裂春冰拆。
Cracking was the mid-prelude played, when it first started the beat;
Like autumn bamboos cracking, and springtime ice splitting.
烟蛾敛略不胜态，风袖低昂如有情。
Dark eyebrows slightly frowned, the countenance was delicate;
Fluttering sleeves rose and fell, as if having affections.
上元点鬟招萼绿，王母挥袂别飞琼。
Madame Shangyuan appointed maid and summoned E Lü;
Queen Mother waved her sleeves to part with Feiqiong.
繁音急节十二遍，跳珠撼玉何铿铮。
Busy sounds and rapid rhythm comprised twelve movements;
Jumping beads and shaking jade, how they clanged and clattered.
翔鸾舞了却收翅，唳鹤曲终长引声。
The flying simurgh finished dancing, stepping back to fold its wings;
And the singing crane ended the song, prolonging the voice for a long time.
当时乍见惊心目，凝视谛听殊未足。
一落人间八九年，耳冷不曾闻此曲。
湓城但听山魈语，巴峡唯闻杜鹃哭。
移领钱唐第二年，始有心情问丝竹。
玲珑箜篌谢好筝，陈宠觱篥沈平笙。
清弦脆管纤纤手，教得霓裳一曲成。
虚白亭前湖水畔，前后只应三度按。
便除庶子抛却来，闻道如今各星散。
今年五月至苏州，朝钟暮角催白头。
贪看案牍常侵夜，不听笙歌直到秋。
秋来无事多闲闷，忽忆霓裳无处问。
闻君部内多乐徒，问有霓裳舞者无？
答云七县十万户，无人知有霓裳舞。
唯寄长歌与我来，题作霓裳羽衣谱。
四幅花笺碧间红，霓裳实录在其中。
千姿万状分明见，恰与昭阳舞者同。
眼前仿佛睹形质，昔日今朝想如一。
疑从云梦呼召来，似着丹青图写出。
我爱霓裳君合知，发于歌咏形于诗。
君不见，我歌云，惊破霓裳羽衣曲。
又不见，我诗云，曲爱霓裳未拍时。
由来能事皆有主，杨氏创声君造谱。
君言此舞难得人，须是倾城可怜女。
吴妖小玉飞作烟，越艳西施化为土。
娇花巧笑久寂寥，娃馆苎萝空处所。
如君所言诚有是，君试从容听我语。
若求国色始翻传，但恐人间废此舞。
妍媸优劣宁相远，大都只在人抬举。
李娟张态君莫嫌，亦拟随宜且教取。]
* * * * * * * * *
《吴声子夜歌》
作者：薛奇童（唐）
by Xue Qitong (Tang Dynasty)
净扫黄金阶，飞霜皓如雪。
下帘弹箜篌，不忍见秋月。
Notes:
题注：一作崔国辅诗，题云《古意》。
* * * * * * * * *
《赠郑女郎（一作郑氏妹）》
作者：薛馧（唐）
by Xue Yun (Tang Dynasty)
艳阳灼灼河洛神，珠帘绣户青楼春。
能弹箜篌弄纤指，愁杀门前少年子。
笑开一面红粉妆，东园几树桃花死。
朝理曲，暮理曲，独坐窗前一片玉。
行也娇，坐也娇，见之令人魂魄销。
堂前锦褥红地炉，绿沈香榼倾屠苏。
解佩时时歇歌管，芙蓉帐里兰麝满。
晚起罗衣香不断，灭烛每嫌秋夜短。
---------------------------------------------
https://tinyurl.com/yxvtqpvm
Chinese poems mentioning the shu konghou
《偶然作六首 其五》
作者：王维（唐）
by Wang Wei (Tang Dynasty, 692-761 or 699-759)
赵女弹箜篌，复能邯郸舞。
夫婿轻薄儿，斗鸡事齐主。
黄金买歌笑，用钱不复数。
许史相经过，高门盈四牡。
客舍有儒生，昂藏出邹鲁。
读书三十年，腰间无尺组。
被服圣人教，一生自穷苦。
Notes:
引用典故：许史
* * * * * * * * *
《箜篌引》
(Konghou Yin)
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)引用典故：许史
* * * * * * * * *
《箜篌引》
(Konghou Yin)
作者：王昌龄（唐）
卢溪郡南夜泊舟，夜闻两岸羌戎讴。
其时月黑猿啾啾，微雨沾衣令人愁。
有一迁客登高楼，不言不寐弹箜篌。
弹作蓟门桑叶秋，风沙飒飒青冢头。
将军铁骢汗血流，深入匈奴战未休。
黄旗一点兵马收，乱杀胡人积如丘。
疮病驱来配边州，仍披漠北羔羊裘。
颜色饥枯掩面羞，眼眶泪滴深两眸。
思还本乡食犛牛，欲语不得指咽喉。
或有强壮能咿嚘，意说被他边将雠。
五世属藩汉主留，碧毛毡帐河曲游。
橐驼五万部落稠，敕赐飞凤金兜鍪。
为君百战如过筹，静扫阴山无鸟投。
家藏铁券特承优，黄金千斤不称求。
九族分离作楚囚，深溪寂寞弦苦幽。
草木悲感声飕飗，仆本东山为国忧。
明光殿前论九畴，簏读兵书尽冥搜。
为君掌上施权谋，洞晓山川无与俦。
紫宸诏发远怀柔，摇笔飞霜如夺钩。
鬼神不得知其由，怜爱苍生比蚍蜉。
朔河屯兵须渐抽，尽遣降来拜御沟。
便令海内休戈矛，何用班超定远侯，史臣书之得已不。
* * * * * * * * *
《冀州客舍酒酣贻王绮寄题南楼》
作者：岑参（唐）
by Cen Shen (Tang Dynasty, 715-770)
题注：时王子欲应制举西上
引用典故：下笔不休
夫子傲常调，诏书下徵求。
知君欲谒帝，秣马趋西周。
逸足何骎骎，美声实风流。
学富赡清词，下笔不能休。
君家一何盛，赫奕难为俦。
伯父四五人，同时为诸侯。
忆昨始相值，值君客贝丘。
相看复乘兴，携手到冀州。
前日在南县，与君上北楼。
野旷不见山，白日落草头。
客舍梨花繁，深花隐鸣鸠。
南邻新酒熟，有女弹箜篌。
醉后或狂歌，酒醒满离忧。
主人不相识，此地难淹留。
吾庐终南下，堪与王孙游。
何当肯相寻，澧上一孤舟。
* * * * * * * * *
《留别岑参兄弟》
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)
江城建业楼，山尽沧海头。
副职守兹县，东南棹孤舟。
长安故人宅，秣马经前秋。
便以风雪暮，还为纵饮留。
貂蝉七叶贵，鸿鹄万里游。
何必念钟鼎，所在烹肥牛。
为君啸一曲，且莫弹箜篌。
徒见枯者艳，谁言直如钩。
岑家双琼树，腾光难为俦。
谁言青门悲，俯期吴山幽。
日西石门峤，月吐金陵洲。
追随探灵怪，岂不骄王侯。
Notes:
引用典故：貂蝉 七叶贵 直如钩
* * * * * * * * *
《听李凭弹箜篌二首》
Listening to Li Ping Play the Konghou, no. 2 (Ting Li Ping Tan Konghou Er Shou)
作者：杨巨源（唐）
by Yang Juyuan (Tang Dynasty, 755-c. 833)
引用典故：云门
听奏繁弦玉殿清，风传曲度禁林明。
君王听乐梨园煖，翻到云门第几声。
花咽娇莺玉漱泉，名高半在御筵前。
汉王欲助人间乐，从遣新声坠九天。
* * * * * * * * *
《李供奉弹箜篌歌》
Court Artist Li Plays a Konghou Song (Li Gongfeng Tan Konghou Ge)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)
国府乐手弹箜篌，赤黄条索金鎝头。
A musician of the kingdom's Music Bureau plays the konghou,
With orange tassels and gold-inlaid head.
早晨有敕鸳鸯殿，夜静遂歌明月楼。
At daybreak, by imperial order, at Mandarin Duck Palace,
In the silent night, the song proceeds as bright moonlight bathes the tower.
起坐可怜能抱撮，大指调弦中指拨。
He sits up, tenderly embraces [his instrument] and begins to manipulate it with his fingers,
His thumb tuning the strings while his middle finger plucks.
腕头花落舞制裂，手下鸟惊飞拨剌。
His wrists, like falling blossoms, dance on either side [of the strings];
Under his hands birds are startled, fly away and disperse in two groups.
珊瑚席，一声一声鸣锡锡。
[On the] coral mat, each note, each note sounds "sek-sek."
罗绮屏，一弦一弦如撼铃。
[Behind the] gauze screen, each string, each string is like the shaking of a bell.
急弹好，迟亦好，宜远听，宜近听。
His quick playing is good, and slow is also good; it is suitable to listen from far away, and also suitable to listen up close.
左手低，右手举，易调移音天赐与。
Left hand low and right hand raised, he modifies the mode and changes the tone with ease, a gift bestowed by the heavens.
大弦似秋雁，联联度陇关。
The big strings are like autumn wild geese,
Endless like the extent of Long Pass.
小弦似春燕，喃喃向人语。
The small strings are like spring swallows,
[Or like] quiet conversation.
手头疾，腕头软，来来去去如风卷。
Hands nimble, wrists flexible,
Moving to and fro like a whirling wind.
声清泠泠鸣索索，垂珠碎玉空中落。
The sound, clear and crisp, rings "sak-sak,"
Like strings of beads or shards of jade falling through the air.
美女争窥玳瑁帘，圣人卷上真珠箔。
Beauties fight to peep through the tortoiseshell screen,
While the Imperial Sage, dressed in his formal robes, watches from above, behind a curtain of pearls.
大弦长，小弦短，小弦紧快大弦缓。
The big strings are long, the small strings short; the small strings are played quickly and the big strings are played leisurely.
初调锵锵似鸳鸯水上弄新声，入深似太清仙鹤游秘馆。
The first melody clanged like mandarin ducks playing on the water, a truly novel sound,
And entering the deep was like riding the Taiqing's celestial crane in the Mysterious Mansion.
李供奉，仪容质，身才稍稍六尺一。
Court artist Li, in appearance and substance,
Has a body nearly six feet tall.
在外不曾辄教人，内里声声不遣出。
On the outside, he has never taught anyone;
From within, the sounds have never been sent out.
指剥葱，腕削玉，饶盐饶酱五味足。
Fingers like tender peeled scallions, wrists of slender jade,
A rich, savory sauce, filled with five flavors.
弄调人间不识名，弹尽天下崛奇曲。
Playing tunes whose names are unknown to the mortal world,
He plucks strange and unusual melodies from the furthest reaches of the world.
胡曲汉曲声皆好，弹着曲髓曲肝脑。
Central Asian pieces and Han pieces, all sound good;
When he plays these tunes, their essence [grips one's] heart and mind [literally "liver and brain"].
往往从空入户来，瞥瞥随风落春草。
Everywhere from the emptiness, coming to enter the door, Erratically and suddenly, the wind descends upon the spring grass.
草头只觉风吹入，风来草即随风立。
Blades of grass only waken as the wind blows in,
The wind comes, and the grass follows the wind to stand up straight.
草亦不知风到来，风亦不知声缓急。
The grass is unaware of the wind's arrival,
Nor does the wind know its urgency.
爇玉烛，点银灯，光照手，实可憎。
Burn the jade candles, light the silver lamp,
Illuminate the hands, it's truly lovely.
只照箜篌弦上手，不照箜篌声里能。
Only a master can understand the konghou's strings,
But he can't understand the power in the konghou's sound.
驰凤阙，拜鸾殿，天子一日一回见。
Hastening to the phoenix tower and visiting the simurgh hall,
The Son of Heaven comes, for a while on this day, to see.
王侯将相立马迎，巧声一日一回变。
Princes and lords, generals and ministers immediately welcome [him],
And, for a while on this day, are transformed by the exquisite sounds.
实可重，不惜千金买一弄。
[Li's music is] of such genuine value that one would not spare a thousand pieces of gold to purchase a single repetition.
银器胡瓶马上驮，瑞锦轻罗满车送。
Silverware and foreign ewers carried on horseback,
Or richly embroidered brocade and silken gauze delivered in a full wagon, [would not be an excessive payment].
此州好手非一国，一国东西尽南北。
Such a one as this province's master artist cannot be found anywhere else in the kingdom,
The kingdom's east or west, nor utmost north or south.
除却天上化下来，若向人间实难得。
Except for such a heavenly musician coming down from above,
Encountering his like in the world of mortals is really rare.
More information:
https://baike.baidu.com/item/%E6%9D%8E%E4%BE%9B%E5%A5%89%E5%BC%B9%E7%AE%9C%E7%AF%8C%E6%AD%8C
* * * * * * * * *
《李凭箜篌引》
Li Ping's Konghou Prelude (Li Ping Konghou Yin)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790/791-816-817)
吴丝蜀桐张高秋，空山凝云颓不流。
Silk from Wu and tong from Shu resonate in the cool late autumn,
While in desolate mountain valleys, merging clouds sink and cease their drift.
江娥啼竹素女愁，李凭中国弹箜篌。
The River Maidens weep among the bamboos and the Plain Girl mourns,
As Li Ping, in the center of the kingdom, plays the konghou.
昆山玉碎凤凰叫，芙蓉泣露香兰笑。
Jade from Mount Kun is shattered and phoenixes shriek,
Lotuses weep dew while fragrant orchids smile.
十二门前融冷光，二十三丝动紫皇。
Before the twelve gates, the cold light melts,
As twenty-three silk [strings] move the Purple Emperor.
女娲炼石补天处，石破天惊逗秋雨。
As Nüwa welded stones to mend the sky,
Stone splits asunder, and the heavens are astonished amid autumn rains.
梦入神山教神妪，老鱼跳波瘦蛟舞。
He goes in dreams to the spirit mountain to instruct the Heavenly Muse,
While great fishes leap from the waves and gaunt dragons dance.
吴质不眠倚桂树，露脚斜飞湿寒兔。
Wu Zhi, unsleeping still, leans on his osmanthus tree,
As dewdrops, flying aslant, drench the shivering hare.
This poem describes, in the most fanciful terms (and with the use of many allusions from Chinese mythology), the shu konghou (竖箜篌, angular harp) playing of Li Ping (李凭), a court musician whose gender is unknown. Until the 20th century twisted silk was the normal material used for the strings of Chinese chordophones, and tong (桐) is the Chinese word for paulownia, the wood that has been used for the soundboards of most Chinese string instruments since ancient times. Wu (吴) is the ancient name for Suzhou, a city famed for the quality of its silk, and Shu (蜀) is the ancient name for Sichuan in southwest China.
* * * * * * * * *
《楼上女儿曲》
作者：卢仝（唐）
by Lu Tong (Tang Dynasty, c. 795-835)
谁家女儿楼上头，指挥婢子挂帘钩。
林花撩乱心之愁，卷却罗袖弹箜篌。
箜篌历乱五六弦，罗袖掩面啼向天。
相思弦断情不断，落花纷纷心欲穿。
心欲穿，凭栏干。
相忆柳条绿，相思锦帐寒。
直缘感君恩爱一回顾，使我双泪长珊珊。
我有娇靥待君笑，我有娇蛾待君扫。
莺花烂熳君不来，及至君来花已老。
心肠寸断谁得知，玉阶幂历生青草。
* * * * * * * * *
《霓裳羽衣歌 和微之》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
我昔元和侍宪皇，曾陪内宴宴昭阳。
In the past, during the Yuanhe Reign, I served the Emperor Xianzong;
I once attended inner banquets thrown at Zhaoyang Palace.
千歌百舞不可数，就中最爱霓裳舞。
Thousands of songs and hundreds of dances, beyond counting;
Among them, my favorite was "Dance of Rainbow Skirts."
舞时寒食春风天，玉钩栏下香案前。
When dancing, it was the springtime “cold food” festival;
Beneath the railing of jade hook, in front of the incense burner table.
案前舞者颜如玉，不着人家俗衣服。
In front of the table were dancers with jade-like countenance;
Not wearing common clothes of regular people.
虹裳霞帔步摇冠，钿璎累累佩珊珊。
With rainbow skirt and rosy cape, they swayed their hats as they walk;
Ornaments of golden flowers were numerous, jade pendants clinking.
娉婷似不任罗绮，顾听乐悬行复止。
So graceful as if they cannot bear the silk gauze;
Turning around, listening to the suspended instruments, they walked and then stop.
磬箫筝笛递相搀，击擫弹吹声逦迤。
Chime stones, xiao, zheng, and di successively mingled together;
To beat, to press, to pluck, and to blow, the tunes were flowing.
散序六奏未动衣，阳台宿云慵不飞。
With six movements of loose-prelude, (dancers) did not yet stir their clothing;
On the sunny terrace, the night clouds were dull and not flying.
中序擘騞初入拍，秋竹竿裂春冰拆。
Cracking was the mid-prelude played, when it first started the beat;
Like autumn bamboos cracking, and springtime ice splitting.
飘然转旋回雪轻，嫣然纵送游龙惊。
Swift was the turning and spin, light as the whirling snow;
Beautiful was the jumping and reaching, wandering dragon startled.
小垂手后柳无力，斜曳裾时云欲生。
After "small drooping hands," willows had no energy;
When slantingly swaying the skirts, clouds were about to arise.
Dark eyebrows slightly frowned, the countenance was delicate;
Fluttering sleeves rose and fell, as if having affections.
上元点鬟招萼绿，王母挥袂别飞琼。
Madame Shangyuan appointed maid and summoned E Lü;
Queen Mother waved her sleeves to part with Feiqiong.
繁音急节十二遍，跳珠撼玉何铿铮。
Busy sounds and rapid rhythm comprised twelve movements;
Jumping beads and shaking jade, how they clanged and clattered.
翔鸾舞了却收翅，唳鹤曲终长引声。
The flying simurgh finished dancing, stepping back to fold its wings;
And the singing crane ended the song, prolonging the voice for a long time.
当时乍见惊心目，凝视谛听殊未足。
一落人间八九年，耳冷不曾闻此曲。
湓城但听山魈语，巴峡唯闻杜鹃哭。
移领钱唐第二年，始有心情问丝竹。
玲珑箜篌谢好筝，陈宠觱篥沈平笙。
清弦脆管纤纤手，教得霓裳一曲成。
虚白亭前湖水畔，前后只应三度按。
便除庶子抛却来，闻道如今各星散。
今年五月至苏州，朝钟暮角催白头。
贪看案牍常侵夜，不听笙歌直到秋。
秋来无事多闲闷，忽忆霓裳无处问。
闻君部内多乐徒，问有霓裳舞者无？
答云七县十万户，无人知有霓裳舞。
唯寄长歌与我来，题作霓裳羽衣谱。
四幅花笺碧间红，霓裳实录在其中。
千姿万状分明见，恰与昭阳舞者同。
眼前仿佛睹形质，昔日今朝想如一。
疑从云梦呼召来，似着丹青图写出。
我爱霓裳君合知，发于歌咏形于诗。
君不见，我歌云，惊破霓裳羽衣曲。
又不见，我诗云，曲爱霓裳未拍时。
由来能事皆有主，杨氏创声君造谱。
君言此舞难得人，须是倾城可怜女。
吴妖小玉飞作烟，越艳西施化为土。
娇花巧笑久寂寥，娃馆苎萝空处所。
如君所言诚有是，君试从容听我语。
若求国色始翻传，但恐人间废此舞。
妍媸优劣宁相远，大都只在人抬举。
李娟张态君莫嫌，亦拟随宜且教取。]
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《吴声子夜歌》
作者：薛奇童（唐）
by Xue Qitong (Tang Dynasty)
净扫黄金阶，飞霜皓如雪。
下帘弹箜篌，不忍见秋月。
Notes:
题注：一作崔国辅诗，题云《古意》。
* * * * * * * * *
《赠郑女郎（一作郑氏妹）》
作者：薛馧（唐）
by Xue Yun (Tang Dynasty)
艳阳灼灼河洛神，珠帘绣户青楼春。
能弹箜篌弄纤指，愁杀门前少年子。
笑开一面红粉妆，东园几树桃花死。
朝理曲，暮理曲，独坐窗前一片玉。
行也娇，坐也娇，见之令人魂魄销。
堂前锦褥红地炉，绿沈香榼倾屠苏。
解佩时时歇歌管，芙蓉帐里兰麝满。
晚起罗衣香不断，灭烛每嫌秋夜短。
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Bibliography
● Xie Jin 谢瑾. "Ming Dai Konghou De Xingzhi Ji Qi Yunyong" 明代箜篌的形制及其运用 [The Form and Usage of the Ming Dynasty Konghou]. Journal of the Central Conservatory of Music, 2009, no. 3, pp. 93-100.
https://www.cnki.com.cn/Article/CJFDTotal-ZYYE200903011.htm
Additional Web resources
● Angular harps Facebook photo album (maintained by David Badagnani)
● Angular harps YouTube playlist (maintained by David Badagnani)
https://tinyurl.com/yxuhanze
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Thanks to Lin Chiang-san for assistance with this page.
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Thanks to Lin Chiang-san for assistance with this page.
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