Musical instrument: ji ou
(擊甌)
compiled by David Badagnani (rev. 1 May 2023)
An illustration of a ji ou from from Chapter 137 of a Qing Dynasty edition of the Northern Song Dynasty musicological treatise Yue Shu《乐书》(The Book of Music) by Chen Yang (陈旸, 1064-1128). Completed in 1104 and consisting of 200 chapters, it was the first Chinese encyclopedia of music.
In an effort to make this information more accessible, this document contains resources related to the Chinese sound-producing device called ji ou (擊甌, literally "struck ou," an ou 甌 being a small porcelain drinking cup or bowl used to hold wine, tea, water, or other liquids), also known as ji fou (擊缶), ba fou (八缶), shui zhan (水盞), fouqin (缶琴), or wanqin (碗琴)--a set of water-tuned porcelain bowls played with a pair of sticks as a melodic percussion instrument. The term shui zhan first appeared in the Northern Song Dynasty (continuing to be used through the Yuan and Ming dynasties), and in the late Qing Dynasty the term fouqin (缶琴) was used. In the modern day, this instrument (which continues to be used to a limited extent) is usually referred to as wanqin (碗琴), and in 1985 the Jiangxi Jingdezhen City Song and Dance Troupe (江西景德镇市歌舞团) introduced a newly developed type of ji ou called ci ou (瓷瓯).
This instrument type probably derives from earlier Chinese percussion instruments made of pottery wine vessels such as the fou (缶), pen (盆), weng (瓮), and ling (瓴), which existed since the pre-Qin period, and which were generally used singly to provide a simple rhythmic accompaniment to singing or dancing; such practice continued through the Six Dynasties period.
In the Sui-Tang period, this concept was extended to create a set of porcelain bowls that could be played as a solo instrument, and by the Tang Dynasty the sound of this instrument, in skilled hands, was considered by such musician-scholars as Duan Anjie (段安节, fl. 880-898) to rival that of the fangxiang metallophone.
During the Tang Dynasty, the ji ou was popular in both court entertainment music as well as played as a folk instrument by the common people. In southern China, the porcelain bowls used for the ji ou were produced in the Yue kiln (越窑), located in Yuezhou (modern-day Shaoxing, Zhejiang province), and in southern China they were made in the Xing kiln (邢窑), which was located in Xingzhou (modern-day Xingtai, southern Hebei province). Of these, the bowls produced by the Yue kiln, called Yue ware (Yue qi, 越器), were considered of particularly high quality. In his Cha Jing《茶经》(The Classic of Tea), Lu Yu (733-804) described teacups produced in the Yue kiln as "like jade, like ice"「类玉、类冰」, and those made by the Xing kiln as "like silver, like snow"「类银、类雪」.
In some cases (as in the Yuan Dynasty), the cups or bowls of a ji ou were made from bronze; in this case, they were called tong ou (铜瓯).
Instruments deriving from the ji ou may also be found in other Asian nations, including India (where it is called jal tarang), Japan (where it is called wankin, 碗琴 / わんきん), Vietnam, Java, Bali, and Burma.
Links to textual sources are highlighted in green.
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Chinese historical reference works discussing the ji ou
● Yuefu Zalu《乐府杂录》(Miscellaneous Notes Regarding the Music Bureau)
A collection of small essays (biji, 笔记) by the 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. It includes a section on the ji ou (the time period described in this passage being 840-846):
「武宗朝，郭道源後爲鳳翔府天興縣丞，充太常寺調音律官，善擊甌，率以邢甌越甌共十二隻，旋加減水於其中，以筋擊之，其音妙于方響也。咸通中有吳繽，洞曉音律，亦爲鼓吹署丞，充調音律官，善於擊甌。擊甌，蓋出於擊缶。」
● 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 ba fou is described as follows:
「八缶，唐永泰初司馬縚進廣平樂，蓋八缶具黃鐘一均聲。」
● Taiping Yulan《太平御览》, an encyclopedia of general knowledge compiled by a committee of officials coordinated by Li Fang from 977 to 983
Considered one of the Four Great Books of Song, this huge leishu encyclopedia was commissioned by the imperial court of the Song dynasty during the first era of the reign of Emperor Taizong. It is divided into 1,000 volumes and 55 sections, which consist of about 4.7 million Chinese characters. Music is covered in a section entitled "Music Division" (Yuebu, 乐部), beginning with Yuebu 1 (乐部一) in chapter 563 and ending with Yuebu 22 (乐部二十二) in chapter 584. The ba fou and ji ou are mentioned in chapter 584, as follows:
缶
《大周正乐》曰：今缶八。永泰初，司马滔进献广平乐，兼此八缶，具黄锺一均声。
《乐府杂录》曰：唐大中初，有调音律官天兴县丞郭道源，善击瓯。用越瓯、邢瓯共一十二旋，加减水，以箸击之，其音妙于方响也。
● Yue Shu《乐书》(The Book of Music/Monograph on Music) by Chen Yang (陈旸, 1064-1128)
Completed in 1104, during the late Northern Song Dynasty, and consisting of 200 chapters, Yue Shu was the first Chinese encyclopedia of music. Since then it has been published in many different editions. The ba fou, shui zhan, and ji ou are illustrated and described in chapter 137:
Description of ba fou:
唐永泰初，司馬淊進廣平樂，蓋有八缶，具黃鐘一均。聲亦在所可取矣
Description of shui zhan:
「近世民間用九甌，盛水擊之，謂之水盞。合五聲四清之音，蓋其制始于李琬，特世俗之樂，非雅調也。」
Description of ji ou:
唐武宗大中初，天興縣丞郭道源取邢甌十二，酌水作調，以著擊之，其音妙於方響。咸通中，吳蠙亦精於此。劉安曰：窮鄉之社，扣甕拊瓴，相和而歌以為樂，豈 亦擊甌類歟？非古制也。自擊建鼓，撞巨鐘觀之，則扣 甕拊瓴之樂，亦足羞矣。《墨子》曰：「農夫息於聆缶之樂」， 亦此類歟？
Another version of the above passage:
唐武宗大中初，天兴县丞郭道源取邢瓯、越瓯十二，酌水作调，以箸击之，其音妙于方响。咸通中，吴蠙亦精于此。
● Shiwu Jiyuan《事物纪原》(Compound Source of Matters and Facts)
Shiwu Jiyuan is an encyclopedia comprising ten volumes, which was completed in 1197, during the Southern Song Dynasty. The ji ou is described as follows:
击瓯
吕氏春秋曰尧使质以麋络鱼缶而鼓之诗宛丘曰坎其击缶史记秦赵会渑池秦王击缶则古有击缶为乐者。击瓯，盖击缶之遗事也。唐大中初，郭道源善之，用越瓯、邢瓯十二，旋加减水，以箸击之，其音妙于方响。昔人于此记其法，疑其自道源始也。
● Ducheng Jisheng《都城纪胜》(Record of the Splendors of the Capital City)
A description of the Southern Song Dynasty capital of Lin'an (Hangzhou), published in 1235 by Nai Deweng (耐得翁), a scholar who had once traveled to the city and wrote down what he observed. The shui zhan is described as follows:
「小樂器只一二人合動也，如雙韻合阮咸，稽琴合簫管，鍫琴合葫蘆琴。單撥十四絃，吹賺動鼓板。渤海樂一拍子，至於十拍子。又有拍番鼓子，敲水盞、鑼板、和鼓兒，皆是也。」
An alternate version of the above passage:
「小乐器只一二人合动也，如双韵合阮咸，稽琴合箫管，琴合葫芦。琴单拨十四弦，吹赚动鼓板，渤海乐一拍子，至于拍番鼓子、敲水盏锣板和鼓儿，皆是也。今街市有乐人三五为队，专赶春场，看潮，赏芙蓉，及酒坐祗应，与钱亦不多，谓之荒鼓板。」
● Meng Liang Lu《梦粱录》(A Dream of Sorghum)
This 20-volume book by Wu Zimu (吴自牧, dates of birth and death unknown) describes the city of Lin'an (modern-day Hangzhou) during the Southern Song Dynasty. The shui zhan is described in Chapter 20, as follows:
妓乐
散乐传学教坊十三部，惟以杂剧为正色。旧教坊有筚篥部、大鼓部、拍板部。色有歌板色、琵琶色、筝色、方响色、笙色、龙笛色、头管色、舞旋色、杂剧色、参军等色。但色有色长、部有部头。上有教坊使、副钤辖、都管、掌仪、掌范，皆是杂流命官。其诸部诸色，分服紫、绯、绿三色宽衫，两下各垂黄义。杂剧部皆诨裹，余皆幞头帽子。更有小儿队、女童采莲队。其外别有钧容班人，四孟乘马从驾后动乐者是也。御马院使臣，凡有宣唤或御教，入内承应奏乐。绍兴年间，废教坊职名，如遇大朝会、圣节，御前排当及驾前导引奏乐，并拨临安府衙前乐人，属修内司教乐所集定姓名，以奉御前供应。向者汴京教坊大使孟角球曾做杂剧本子，葛守诚撰四十大曲，丁仙现捷才知音。南渡以后，教坊有丁汉弼、杨国祥等。景定年间至咸淳岁，衙前乐拨充教乐所都管、部头、色长等人员，如陆恩显、时和、王见喜、何雁喜、王吉、赵和、金宝、范宗茂、傅昌祖、张文贵、侯端、朱尧卿、周国保、王荣显等。且谓杂剧中末泥为长，每一场四人或五人。先做寻常熟事一段，名曰"艳段"。次做正杂剧、通名两段。末泥色主张，引戏色分付，副净色发乔，副末色打诨。或添一人，名曰"装孤"。先吹曲，破断送，谓之"把色"。大抵全以故事，务在滑稽唱念，应对通遍。此本是鉴戒，又隐于谏诤，故从便跣露，谓之"无过虫"耳。若欲驾前承应，亦无责罚。一时取圣颜笑。凡有谏诤，或谏官陈事，上不从，则此辈妆做故事，隐其情而谏之，于上颜亦无怒也。又有杂扮，或曰"杂班"，又名"经元子"，又谓之"拔和"，即杂剧之后散段也。顷在汴京时，村落野夫，罕得入城，遂撰此端。多是借装为山东、河北村叟，以资笑端。今士庶多以从省，筵会或社会，皆用融和坊、新街及下瓦子等处散乐家，女童装末，加以弦索赚曲，祗应而已。大凡动细乐，比之大乐，则不用大鼓、杖鼓、羯鼓、头管、琵琶等，每只以箫、笙、筚篥、嵇琴、方响，其音韵清且美也。若合动小乐器，只三二人合动尤佳，如双韵合阮咸，嵇琴合箫管，琴合葫芦琴，或弹拨下四弦，独打方响，吹赚动鼓《渤海乐》一拍子至十拍子。又有拍番鼓儿，敲水盏，打锣板，和鼓儿，皆是也。街市有乐人三五为队，擎一二女童舞旋，唱小词，专沿街赶趁。元夕放灯、三春园馆赏玩、及游湖看潮之时，或于酒楼，或花衢柳巷妓馆家祗应，但犒钱亦不多，谓之"荒鼓板"。若论动清音，比马后乐加方响、笙与龙笛，用小提鼓，其声音亦清细轻雅，殊可人听。更有小唱、唱叫、执板、慢曲、曲破，大率轻起重杀，正谓之"浅斟低唱"。若舞四十六大曲，皆为一体。但唱令曲小词，须是声音软美，与叫果子、唱耍令不犯腔一同也。朝廷御宴，是歌板色承应。如府第富户，多于邪街等处，择其能讴妓女，顾倩祗应。或官府公筵及三学斋会、缙绅同年会、乡会，皆官差诸库角妓祗直。自景定以来，诸酒库设法卖酒，官妓及私名妓女数内，拣择上中甲者，委有娉婷秀媚，桃脸樱唇，玉指纤纤，秋波滴溜，歌喉宛转，道得字真韵正，令人侧耳听之不厌。官妓如金赛兰、范都宜、唐安安、倪都惜、潘称心、梅丑儿、钱保奴、吕作娘、康三娘、桃师姑、沈三如等，及私各妓女如苏州钱三姐、七姐、文字季惜惜、鼓板朱一姐、媳妇朱三姐、吕双双、十般大胡怜怜、婺州张七姐、蛮王二姐、搭罗邱三姐、一丈白杨三妈、旧司马二娘、裱背陈三妈、屐片张三娘、半把伞朱七姐、轿番王四姐、大臂吴三妈、浴堂徐六妈、沈盼盼、普安安、徐双双、彭新等。后辈虽有歌唱者，比之前辈，终不如也。说唱诸宫调，昨汴京有孔三传编成传奇灵怪，入曲说唱；今杭城有女流熊保保及后辈女童皆效此，说唱亦精，于上鼓板无二也。盖嘌唱为引子四句就入者谓之"下影带"。无影带，名为"散呼"。若不上鼓面，止敲盏儿，谓之"打拍"。唱赚在京时，只有缠令、缠达。有引子、尾声为缠令。引子后只有两腔迎互循环，间有缠达。绍兴年间，有张五牛大夫，因听动鼓板中有《太平令》或赚鼓板，即今拍板大节抑扬处是也，遂撰为"赚"。赚者，误赚之之义也，正堪美听中，不觉已至尾声，是不宜为片序也。又有"覆赚"，其中变花前月下之情及铁骑之类。今杭城老成能唱赚者，如窦四官人、离七官人、周竹窗、东西两陈九郎、包都事、香沈二郎、雕花杨一郎、招六郎、沈妈妈等。凡唱赚最难，兼慢曲、曲破、大曲、嘌唱、耍令、番曲、叫声，接诸家腔谱也。若唱嘌耍令，今者如路岐人、王双莲、吕大夫唱得音律端正耳。今街市与宅院，往往效京师叫声，以市井诸色歌叫卖物之声，采合宫商成其词也。
● Wenxian Tongkao《文献通考》(Comprehensive Examination of Literature)
Compiled in the early 14th century, during the Yuan Dynasty, by Ma Duanlin (马端临), this work contains a list and descriptions of many ancient and Medieval musical instruments. There are no illustrations. The shui zhan and ji ou are described in Chapter 135, as follows:
水盞
近世民閒用九甌盛水擊之，謂之“水盞”。合五聲四清之音，其制蓋始於李琬，特世俗之樂，非雅調也。
拊瓶 扣瓮 击瓯 [以十二磁甌為一棹]
唐武宗大中初，天兴县丞郭道源取邢瓯、越瓯十二，酌水作调，以箸击之，其音妙于方响。咸通中，吴蠙亦精于此。
Another version of the above passage:
拊瓶 扣甕 擊甌
唐武宗大中初，天興縣丞郭道源取邢甌越甌十二酌水作調，以著擊之，其音妙於方響。咸通中，吳亦精於此。
● Yuan Shi《元史》(The History of Yuan)
The official history of the Yuan Dynasty (1271-1368), Yuan Shi was completed in 1370 (actually during the early Ming Dynasty). It is one of the Twenty-Four Histories (二十四史). The shui zhan is described in volume 71, as follows:
宴樂之器
水盞，制以銅，凡十有二，擊以鐵箸。
● Sancai Tuhui《三才图会》(Illustrations of the Three Powers)
Compiled by Wang Qi (王圻) and his son Wang Siyi (王思義), Sancai Tuhui is a Chinese leishu encyclopedia, completed in 1607 and published in 1609 during the late Ming dynasty, featuring illustrations of subjects in the three worlds of heaven, earth, and humanity. This work includes an illustration of a ji ou, which may be found in the following section:
卷之三，「器用三卷」當中的樂器類，第三十四頁，與拍板圖放在一起。
● 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). The shui zhan is listed in volume 61 as being one of the instruments used in the Ming court's Si Yi Wu Yue (四夷舞樂, Music and Dance of the Four Barbarian Peoples), which originated from the Mongol tribes of Wuliangha Sanwei, on China's northeastern frontier, which fell under China's control following the retreat of the Yuan Dynasty following their defeat at the hands of the Ming Dynasty in 1368: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。
● Gujin Tushu Jicheng《古今图书集成》(Complete Collection of Illustrations and Writings from the Earliest to Current Times)
This 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 ji ou is described as follows:
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Other Chinese literary works mentioning the ji ou
● Feiyan Zhuan《非烟传》
Feiyan Zhuan is an anonymous novel composed during the Tang Dynasty, whose heroine is a skilled player of the ji ou. This instrument is mentioned in the second sentence of the novel, as follows:
「临淮武公业，咸通中，任河南府功曹参军。爱妾曰非烟，姓步氏，容止纤丽，若不胜绮罗；善秦声，好文笔，尤工击瓯，其韵与丝竹合。」
「临淮武公业，咸通中，任河南府功曹参军。爱妾曰非烟，姓步氏，容止纤丽，若不胜绮罗；善秦声，好文笔，尤工击瓯，其韵与丝竹合。」
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Chinese poems mentioning the ji ou
《李户曹小妓天得善击越器以成曲章》
Little Courtesan Li Hucao, With Her Heaven-Bestowed Talent in Hitting Yue Ware [Bowls], Uses Them to Realize a Movement of a Piece (Li Hucao Xiao Ji Tian De Shan Ji Yue Qi Yi Cheng Qu Zhang)
Little Courtesan Li Hucao, With Her Heaven-Bestowed Talent in Hitting Yue Ware [Bowls], Uses Them to Realize a Movement of a Piece (Li Hucao Xiao Ji Tian De Shan Ji Yue Qi Yi Cheng Qu Zhang)
作者：方干（唐）
by Fang Gan (Tang Dynasty, 809-888, 886, 885, 882, or 873)
越器敲来曲调成，腕头匀滑自轻清。
Yue ware is tapped, creating a melody,
Her hands, with even and smooth [motions], [producing a sound that is] light and crisp.
随风摇曳有馀韵，测水浅深多泛声。
Carried by the breeze, it has a lingering charm,
And the measurement of the water [in the cups]--whether shallow or deep--creates an overflowing profusion of tones.
昼漏丁当相续滴，寒蝉计会一时鸣。
Like the "ding-dong" of a water clock with its successive drops,
Or cold cicadas counting together the interval of their calls.
若教进上梨园去，众乐无由更擅名。
If [she should] advance and depart for the Pear Garden,
Those who love her music will have no way to replace her skill and reputation.
Notes:
Fang Gan was a scholar and poet from Zhejiang province. In southern China during the Tang Dynasty, the porcelain bowls used for the ji ou (击瓯, a set of water-tuned porcelain bowls played with a pair of sticks as a melodic percussion instrument) were produced in the Yue kiln (越窑), located in Yuezhou (modern-day Shaoxing, Zhejiang province). Referred to as Yue ware (Yue qi, 越器), such bowls were considered of particularly high quality, and, in his Cha Jing《茶经》(The Classic of Tea), Lu Yu (733-804) described teacups produced in the Yue kiln as "like jade, like ice"「类玉、类冰」. The Pear Garden (Chinese: Liyuan, 梨园) was an academy for court entertainment music, dance, and theater, which was established in the Tang Dynasty capital of Chang'an by Emperor Xuanzong (r. 712-756).
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《赠李粲秀才（字辉用）》
作者：僧鸾（唐末）
by Sengluan (late Tang Dynasty)
陇西辉用真才子，搜奇探险无伦比。
笔下铦磨巨阙锋，胸中静滟西江水。
哀弦古乐清人耳，月露激寒哭秋鬼。
苔地无尘到晓吟，杉松老叶风乾起。
十轴示余三百篇，金碧烂光烧蜀笺。
雄芒逸气测不得，使我踯躅成狂颠。
大郊远阔空无边，凝明淡绿收馀烟。
旷怀相对景何限，落日乱峰青倚天。
又惊大舶帆高悬，行涛劈浪凌飞仙。
回首瞥见五千仞，扑下香炉瀑布泉。
何事古人誇八斗，焉敢今朝定妍丑。
飒风驱雷暂不停，始向场中称大手。
骏如健鹘鹗与雕，拿云猎野翻重霄。
狐狸窜伏不敢动，却下双鸣当迅飙。
愁如湘灵哭湘浦，咽咽哀音隔云雾。
九嶷深翠转巍峨，仙骨寒消不知处。
清同野客敲越瓯，丁当急响涵清秋。
鸾雏相引叫未定，霜结夜阑仍在楼。
高若太空露云物，片白激青皆彷佛。
仙鹤闲从净碧飞，巨鳌头戴蓬莱出。
前辈歌诗惟翰林，神仙老格何高深。
鞭驰造化绕笔转，灿烂不为酸苦吟。
梦乘明月清沈沈，飞到天台天姥岑。
倾湖涌海数百字，字字不朽长摐金。
此日多君可俦侣，堆珠叠玑满玄圃。
终日并辔游昆崙，十二楼中宴王母。
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《郭处士击瓯歌》
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)
佶栗金虬石潭古，勺陂潋滟幽修语。
湘君宝马上神云，碎佩丛铃满烟雨。
吾闻三十六宫花离离，软风吹春星斗稀。
玉晨冷磬破昏梦，天露未干香著衣。
兰钗委坠垂云发，小响丁当逐回雪。
晴碧烟滋重叠山，罗屏半掩桃花月。
太平天子驻云车，龙炉勃郁双蟠拏。
宫中近臣抱扇立，侍女低鬟落翠花。
乱珠触续正跳荡，倾头不觉金乌斜。
我亦为君长叹息，缄情远寄愁无色。
莫沾香梦绿杨丝。千里春风正无力。
Notes:
This poem was inspired by Wen Tingyun hearing a performance by the court musician Guo Daoyuan (郭道源), who was a skilled player of the ji ou, sometime between 840 and 846.
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《击瓯赋》（有序）
作者：张曙（唐）
by Zhang Shu (Tang Dynasty)
宋玉《九辩》曰：“悼馀生之不时也。”甲辰，窜身巴南，避许溃师。郡刺史甚欢接春。一日登郡东楼，下临巴江，馔酒簇乐，以相为娱。言间有马处士末至，善击瓯者。请即清宴，爰骋妙绝。处士审音以知声，馀审乐以知化。斯可以抑扬淫放，顿挫匏竹，运动节奏，出鬼入神。太守请馀赋之。馀曰：“不图为乐之至于斯。”酒酣舐笔，乃为赋云：
器之为质兮白而贞，水之为性兮柔而清。水投器而有象，器藉水而成声。始因心而度曲，俄应手以征情。莫不敲萧熠爚，撇捩纵横。胡不自匏丝而起，胡不从金石而生。孰谓节奏，乐我生平。何彼秾矣，高楼燕喜。叩寂含商，穷元咀征。拂绮井以连骞，送枫汀之靡迤。岩隈有雪，彪咻而雕虎扬睛。潭上无风，捷猎而金蚪跋尾。目运心语，波回浪旋。似欲奋而还驻，若将穷而复连。得不似惊沙叫雁，高柳鸣蝉。董双成青琐鸾饥，啄开珠网。穆天子红缰马解，踏破琼田。愕眙衡盱，神清调古。既嗟叹之不足，谅悲哀以为主。誓不向单于台畔，和塞叶胡笳。定不入宋玉筵中，随齐竽楚舞。疾徐奋袂，曲折萦组。潺湲下陇底之泉，呜咽上涔阳之橹。莺隔溪而对语，一浦花红。猿袅树以哀吟，千山月午。斯皆从有入无，妙动元枢。滟飐则水心云母，丁当则杖杪真珠。于是发春卉，骇灵姝。羞杀兮钿筝金铎，愁闻兮鬼啸神呼。时也曲阕酒阑，烟遂雾隔。览故步以踯躅，有馀声而滴沥。临流而欲去依依，转首而相看脉脉。太守曰：“遘止良辰，好乐还淳。讽赋已劳于进牍，讴歌为序其芳尘。”馀乃歌曰：“江风起兮江楼春，千里万里兮愁杀人。楼前芳草兮关山道，江上孤帆兮杨柳津。是何况我兮击拊，眷我兮殷勤。”回首而渔翁鼓枻，凝眸而思妇沾巾。夫当筵一曲，人生一世。何纷糅乎是非，顾何慕乎隆替。飘缨宜入醉乡来，自识天人之际。
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《句 其一》
作者：冯介（北宋）
by Feng Jie (Northern Song Dynasty)
白云处士来观乐，翠黛佳人笑击瓯。
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《句 其二》
作者：冯介（北宋）
by Feng Jie (Northern Song Dynasty)
坐上击瓯清似玉，槛前流水碧如蓝。
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《击瓯赋》
(Ji Ou Fu)
(Ji Ou Fu)
作者：梅尧臣（北宋）
by Mei Yaochen (Northern Song Dynasty, 1002-1060)
余观今乐，爱乎清越出金石之间，所谓击瓯者，本埏埴，异琳球，入伶伦兮间齐优。其可尚者，鸣非瓦釜律度合，鼓非土缶音韵周，和非埙篪上下应，作非锺罄节奏侔，而又冰质莹然，水声修然，度曲泠然，入耳浏然。犹有非之者曰：“善则善矣，未若艳女之歌喉。何则？是谓丝不如竹，竹不如肉，以其近自然之气，况此曾何参于乐录之目乎！”余辩之曰：“融结合于造化，坚白播于陶钧，发和于器，导和于人，可以乐嘉宾，可以畅百神，安得丝竹讴吟之匪伦也哉！”
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《击瓯》
(Ji Ou)
作者：韦骧（北宋）
by Wei Xiang (Northern Song Dynasty, 1033-1105)
箫鼓厌喧豗，瓯声可荐杯。
鸣珂秋猎骏，锵佩晓朝回。
挹注虽为助，甄陶别有胚。
玉纤敲击锐，惊起玉山颓。
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《鹤村再叠韵见答申言以戒之》
作者：郭嵩焘（晚清）
by Guo Songtao (late Qing Dynasty, 1818-1891)
流连晚景夕阳楼，节乐真思一击瓯。
颠倒暮朝令狙喜，较量胜负为丛投。
要将山岳销胸次，莫使龙蛇起笔头。
雕琢肺肝连日夕，语君持律戒酣讴。
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Historical specimens
(Information shared by Mr. Lin Chiang-san):
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Additional Web resources
● Baidu Baike article about the ji ou (擊甌)
● Baidu Baike article about the shui zhan (水盞)
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Thanks to Lin Chiang-san for assistance with this page.
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