Saturday, July 30, 2022

Tang-era piece: Su He Xiang《蘇合香》

Tang-era piece:  Su He Xiang
《蘇合香》
compiled by David Badagnani (rev. 13 August 2022)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Su He Xiang《蘇合香》(Liquidambar Incense), which exists in the form of instrumental parts for a suite in the Dorian mode on B, called Panshe diao (盤渉調) in Chinese and Banshiki-chō in Japanese, comprising three movements:
1) 序 (Xu / Jo) - prelude/beginning, in five sections
2) 破 (Po / Ha) - "broaching"/breaking/developing
3) 急 (Ji / Kyū) - quick/rushing to the end

As preserved in Sino-Japanese sources, this piece is called Sogōkō『蘇合香（そごうこう）』or『蘓合香（そごうこう）』, and it appears in the following score collections:
1) Hakuga Fue-fu『博雅笛譜』, also known as Hakuga no Fue-fu (literally "Hakuga's Fue Scores"), and properly known as Shinsen Gaku-fu (Chōshukyō Chiku-fu)『新撰樂譜（長秋卿竹譜）』(literally "Newly Compiled Music Scores (Lord Long Autumn's Bamboo [Flute] Scores)") (966)
2) and 3) Sango Yōroku and Jinchi Yōroku, both of which were compiled in the late 12th century

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Chinese historical sources mentioning Su He Xiang

● Jiaofang Ji《教坊记》(The Conservatory Records)
A collection of short essays by the Tang Dynasty scholar Cui Lingqin (崔令钦, fl. 749).

● Jiegu Lu《羯鼓錄》
Jiegu Lu is a book on music in two parts by Nan Zhuo (南卓, fl. 848-850).  The first part was completed in 848 and the second in 850.
https://zh.wikisource.org/zh/%E7%BE%AF%E9%BC%93%E9%8C%84

● 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.

● In his collection Baishi Daoren Gequ《白石道人歌曲》(c. 1202), the Southern Song Dynasty poet/musician/composer Jiang Kui (姜夔, c. 1155-c. 1221) mentions Su He Xiang in his preface to the poetic song "Nichang Zhong Xu Di Yi"《霓裳中序第一》(Rainbow Skirts Middle Prelude, no. 1):

丙午岁，留长沙，登祝融，因得其祠神之曲，曰《黄帝盐》、《苏合香》
(translated by Laurence Picken):
In 1186 I stayed at Ch'ang-sha and visited the temple of the God of Fire in order to hear the melody for sacrifice to the god, namely: 'The Yellow Emperor's Introit, "Liquid-amber".


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Tang-era poems mentioning Su He Xiang

《失调名 苏合香》 作者：无名氏（唐） Anonymous (Tang Dynasty) 兴未□。 望休□。 迢逍边塞长。 青山昏自阴，秋树本来黄。 秋树□无叶。 鸟来何处藏。 日炽蒲桃垂，风吹苏合香。


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Videos and recordings of Su He Xiang

● Performance of the "Po" movement of Su He Xiang, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), heng di (China, 2021)

● Performance of the "Ji" movement of Su He Xiang, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), heng di (China, 2022)

● Full-ensemble realization of Su He Xiang, done by Tokinori Yanagita using synthesized sounds, revised version 2 (Japan, 2022)
● Full-ensemble realization of the "Ji" movement of Su He Xiang, done by Bilibili user 冯氏羊肉馆 using synthesized sounds (China, 2022)

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Bibliography

● Marett, Allan.  "Hakuga's Flute-Score:  A Tenth-Century Japanese Source of 'Tang-Music' in Tablature."  Ph.D. dissertation.  Cambridge:  University of Cambridge, 1976. https://www.repository.cam.ac.uk/handle/1810/250716
● Marett, Allan.  "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century."  Musica Asiatica, vol. 1 (1977), pp. 1-59.
● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson.  Music from the Tang Court, vol. 2.  Cambridge:  Cambridge University Press, 1985.
● Wolpert, Rembrandt.  "Tang-Music (Tōgaku) Manuscripts for Lute and Their Interrelationships."  In Music and Tradition:  Essays on Asian and Other Musics Presented to Laurence Picken; ed. D. R. Widdess and R. F. Wolpert (Cambridge:  Cambridge University Press, 1981), pp. 69-121.

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Sunday, July 24, 2022

Musical instrument: wuxian pipa (五絃琵琶)

Musical instrument:  wuxian pipa
(五絃琵琶)
compiled by David Badagnani (rev. 22 August 2023)
Detail of mural depicting a standing musician playing a wuxian pipa.  Tang Dynasty (618-907).  From the tomb of Yan Fei, or Consort Yan (燕妃墓, 609-671), part of the Zhaoling Mausoleum (昭陵唐墓) complex, 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. "Zhao" (昭) means "the light of the sun," "ling" (陵) means "grave mound of an emperor," and Jiuzong Shan (九嵕山) literally means "Nine-Crest Mountain").  The Zhaoling Mausoleum, built for Emperor Taizong of Tang, is the largest royal mausoleum in the world.

In an effort to make this information more accessible, this document contains resources related to the Chinese musical instrument called wuxian pipa (五絃琵琶, literally "five-stringed pipa"), also known as wuxian (五絃) or wuxian qin (五絃琴)--a pear-shaped lute with five strings and four (or sometimes five) raised frets--as documented in the Chinese historical record.

The wuxian pipa, whose pegbox is straight rather than bent backwards as is the case for the quxiang pipa (曲項琵琶, literally "bent-necked pipa"), appears in iconography in India in the second century AD; in India it was called kacchapi (Sanskrit: कच्छपी), deriving from a term meaning "female tortoise" or a kind of small tortoise; the related term kacchapa (कच्छप) means "tortoise" or "turtle." It was introduced to China from Central Asia during the first few centuries AD, during which time it enjoyed popularity in Central Asian states such as Sogdiana.

As transmitted to Japan, the wuxian pipa is called gogen-biwa (五絃琵琶 / ごげんびわ).  As of the late 20th century, both the wuxian pipa and gogen-biwa have been revived by some period ensembles for the reconstructive performance of Tang-era music.

The wuxian pipa's four raised frets were placed so that the first fret is a whole step (c. 200 cents) above the nut, with the remaining three frets each being a half step (c. 100 cents) above the first fret.  Including open strings, this allows for the production of 20 pitches (some being unisons), and the notation system in use since at least the 7th century uses twenty different tablature symbols to represent these pitches.  Unlike the modern pipa, string bending was not used.

The origin of the word pipa (originally spelled 枇杷, and pronounced biba in Middle Chinese) is explained in the "Explanation of Musical Instruments" (Shi Yueqi, 释乐器) section of the Shiming《释名》(Explanation of Names), a dictionary employing phonological glosses from c. 200 AD, during the Eastern Han Dynasty, as follows:
「枇杷，本出於胡中，馬上所鼓也。推手前曰枇，引手卻曰杷。象其鼓時，因以為名也。」
The pipa originated from the Western barbarians, who played the instrument while on horseback.  Pushing [the plucking hand] outward is called "pi," while drawing [the plucking hand] inward is called "pa."  That's [what the instrument sounds] like when it is played, hence the name.
Note that, at the time the Shiming was written, the term pipa referred to a long-necked fretted lute with round (moon-shaped) body, which would later be known as Qin pipa (秦琵琶), ruanxian (阮咸), or yueqin (月琴).

Fengsu Tongyi《风俗通义》(Comprehensive Meaning of Customs and Mores or Comprehensive Meaning of Customs and Habits), from 195 AD, during the late Eastern Han Dynasty, contains the following passage describing the pipa:

批把

謹按：此近世樂家所作，不知誰也。以手批把，因以為名。長三尺五寸，法天地人與五行，四絃象四時。


Links to textual sources are highlighted in green.

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Historical tunings documented for the wuxian pipa

This is the list of historical tunings used by the wuxian pipa given by Wolpert:

1) EBdf♯a
2) EBdeA
3) DAdea
4) F♯Bdf♯a

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Chinese historical reference works discussing the wuxian pipa

● Tongdian《通典》(Comprehensive Institutions)
Written by Tang scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian mentions the wuxian pipa in many sections.
https://zh.wikisource.org/wiki/%E9%80%9A%E5%85%B8#.E6.A8.82.E5.85.B8
http://www.guoxue123.com/shibu/0101/01tdf/index.htm

● 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 brief section on the wuxian pipa, which is referred to simply as "wuxian."

● 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).

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Chinese poems mentioning the wuxian pipa

《琵琶》
Pipa
作者：无名氏（唐）
Anonymous (Tang Dynasty)

粉胸绣臆谁家女，香拨星星共春语。
This woman with white-powdered chest and embroidery-graced bosom, to whose household does she [belong]?
Her fragrant plectrum, in scintillating style, [evokes] a tête-à-tête between lovers in spring.
七盘岭上走鸾铃，十二峰头弄云雨。
Across Qipan Ridge, luan bells walk,
As the Twelve Peaks conjure clouds and rain.
千悲万恨四五弦，弦中甲马声骈阗。
[She pours out] a thousand sorrows and ten thousand regrets on [her instrument's] four or five strings,
And on these strings [she produces] the sound of armored horses riding two abreast.
山僧扑破琉璃钵，壮士击折珊瑚鞭。
A mountain-dwelling monk smites a glass bowl,
And a warrior cracks a coral whip.
珊瑚鞭折声交戛，玉盘倾泻真珠滑。
As the coral whip cracks, it sounds "khau-khat,"
While pearls, poured out onto a jade plate, skitter smoothly.
海神驱趁夜涛回，江娥蹙踏春冰裂。
The sea god urges on [his dragons], and nocturnal waves swirl;
The River Maidens tread and trample, and the spring ice cracks.
满坐红妆尽泪垂，望乡之客不胜悲。
Teardrops fall from the [eyes of] all the red-made-up beauties in attendance;
Being far from home and longing for their hometowns [is an] unbearable sorrow.
曲终调绝忽飞去，洞庭月落孤云归。
At the piece's end, the tune breaks off as if suddenly floating away;
The moon sets [over] Dongting [Lake], and a solitary cloud returns.

Notes:

● "Fragrant plectrum" (Chinese:  long xiang bo, 龙香拨) refers to a pipa plectrum made from a material called long xiang mu (龙香木, literally "dragon incense wood").  "星星" (pronounced "seng-seng" in Middle Chinese) was probably intended by the poet as onomatopoeic as well as metaphorical.
● Qipan Ridge (Chinese:  Qipan Ling, 七盘岭), also known as Wupan Ridge (Chinese:  Wupan Ling, 五盘岭) or the Qipan Mountains (Chinese:  Qipan Shan, 七盘山), was located in modern-day Guangyuan, northeastern Sichuan, and was part of Ba Prefecture (Chinese:  Bazhou, 巴州) during the Tang Dynasty.
● Luan bells are a set of bells that were attached to the bridles of horses (especially those of cavalry regiments) or the crossbars in the front of horse-drawn vehicles, which were said to produce a sound like the chirping of the mythical luan (鸾) bird.  This is probably a reference to the mountain goddess Yaoji (瑶姬), also known as Wushan Shennü (巫山神女), who in the poem Shennü Fu《神女赋》(Rhapsody on the Goddess), which is attributed to the Late Warring States poet Song Yu (宋玉, c. 298 BC-c. 222 BC), but which is probably by a later author, rings luan bells upon taking her leave from King Qingxiang of Chu (楚顷襄王, r. 298 BC-263 BC).
● The Twelve Peaks (Chinese:  Shi'er Feng, 十二峰) refers to the twelve peaks of Wushan (巫山, literally "Shaman Mountains"), on the border between eastern Sichuan (modern-day northeastern Chongqing) and western Hubei, at the western entrance to Wu Gorge (Chinese:  Wu Xia, 巫峡), the second of the Three Gorges of the Yangtze River.  Of these twelve peaks, the tallest, Goddess Peak (Chinese:  Shennü Feng, 神女峰), was believed to be the abode of the goddess Yaoji (瑶姬), also known as Wushan Shennü (巫山神女), who at daybreak took the form of morning clouds, and each dusk into driving rain.  A legendary story about the meeting, in a dream of King Huai of Chu (楚怀王, r. 328 BC-299 BC), with this goddess is recounted memorably in two poems attributed to the Late Warring States poet Song Yu (宋玉, c. 298 BC-c. 222 BC), but which are probably by a later author:  Gaotang Fu《高唐赋》(Rhapsody on the Gaotang Shrine) and Shennü Fu《神女赋》(Rhapsody on the Goddess), and the sexual liason described therein inspired the idiom yunyu (云雨, literally "clouds and rain"), which is a euphemistic metaphor for lovemaking between men and women.  By the Tang Dynasty (and in particular in the works of the poet Yuan Zhen), references to the Wushan Goddess were used as a literary device indicating eroticism.
● "Coral whip" (Chinese:  shanhu bian, 珊瑚鞭) refers to a horsewhip whose handle is decorated with precious red coral gemstones.  An implement called a "seven-treasure whip" (Chinese:  qi bao bian, 七宝鞭) is described in Jin Shu《晋书》(The Book of Jin), the official history of the Jin Dynasty (266-420), and the coral whip (as a variety of seven-treasure whip) is mentioned in numerous poems dating to the Southern Dynasties and Tang periods.
● "Sea god" probably refers to Yu Qiang (禺强), the legendary god of the northern sea, wind, and plague, who was associated with the Chu culture.  According to the Shan Hai Jing《山海经》(Classic of Mountains and Seas), a compendium of mythological lore from pre-Qin China, Yu Qiang had a human face and a bird's body, with a pair of green snakes decorating his ears, and he traveled astride a pair of large red snakes (which are often interpreted as snake-like dragons).
● "River Maidens" (Chinese:  Jiang'e, 江娥) is another name for the Goddesses of the Xiang River (the daughters of the legendary Emperor Yao, who drowned themselves in the Xiang River out of grief upon the death of their husband, the legendary Chinese Emperor Shun), who are called Xiang Jun (湘君) in Chinese.
● The Xiang River, which flows generally northeast through the provinces of Guangxi and Hunan, flowed into Dongting Lake (located in northeastern Hunan, near the border with Hubei) through the ancient kingdom of Chu, whose songs in the worship of the Goddesses of the Xiang River have been recorded in a work attributed to the Warring States-period poet Qu Yuan (c. 340 BC-278 BC).

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《秦中吟十首 其八 五弦（一作五弦琴）》
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

清歌且罢（一作停）唱，红袂亦停舞。
赵叟抱五弦，宛转当胸（一作胸前）抚。
大声粗（一作徂）若散，飒飒风和雨。
小声细欲绝，切切鬼神语。
又如鹊报喜，转作猿啼苦。
十指无定音，颠倒宫徵（一作商）羽。
坐客闻此声，形神若无主。
行客闻此声，驻足不能举。
嗟嗟俗人耳，好今不好古。
所以绿（一作北）窗琴，日日生尘土。

More information:

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《新乐府 五弦弹－恶郑之夺雅也》
New Yuefu [Poem]:  Five Strings Plucked:  Truly Disgusted by Zheng's Usurpation of the Elegant and Refined
(Xin Yuefu:  Wu Xian Tan, Wu Zheng Zhi Duo Ya Ye)
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

五弦弹，五弦弹，听者倾耳心寥寥。
Five strings plucked, five strings plucked,
As the listeners tilt their ears, hearts filled with loneliness.
赵璧知君入骨爱，五弦一一为君调。
Zhao Bi knew his gentle listeners loved [this music] in their bones,
So he tuned his five strings for them, one by one.
第一第二弦索索，秋风拂松疏韵落。
The first and second strings whispered,
As an autumn breeze whisks the pines, creating a quietly graceful effect.
第三第四弦泠泠，夜鹤忆子笼中鸣。
The third and fourth strings were crisp and clear,
Like a nocturnal crane pining for her son, now singing in a cage.
第五弦声最掩抑，陇水冻咽流不得。
The fifth string's sound was the most covered of all,
Like the Long River with its frozen throat, which allows no flow.
五弦并奏君试听，凄凄切切复铮铮。
When all five strings were played together, we gave a careful listen,
Hearing chill misery intercut with pressing urgency and reverberant clangor.
铁击珊瑚一两曲，冰泻玉盘千万声。
For the first piece or two, it sounded like iron striking coral,
Then ice gushing onto a jade plate, making ten million sounds.
铁声杀，冰声寒。
The iron sounded deadly, and the ice sounded cold.
杀声入耳肤血憯，寒气中人肌骨酸。
As these slaughterous sounds entered my ears, my skin and blood were pierced with sorrow;
A chill enveloped my person, and my muscles and bones were permeated by sourness.
曲终声尽欲半日，四坐相对愁无言。
As the melody ended and the sound died away, a time that seemed like it might last for half a day,
Those seated throughout the space faced one another, filled with sadness and without a word.
座中有一远方士，唧唧咨咨声不已。
In one seat there was a gentleman from a faraway place,
Uttering praise in an incessant stream.
自叹今朝初得闻，始知孤负平生耳。
He sighed to himself:  "Today is the first time I have had the opportunity to listen [to this music],
And only now am I aware of the fact that my ears have been waiting in vain for it for my whole life."
唯忧赵璧白发生，老死人间无此声。
"I only worry that Zhao Bi will grow white hair;
Once he grows old and dies people will no longer be able to hear these sounds."
远方士，尔听五弦信为美，吾闻正始之音不如是。
Gentleman from afar, you have listened to the five strings and believed them to be beautiful, but I have heard that the Correct Beginning Music was not like this.
正始之音其若何，朱弦疏越清庙歌。
So what was the Correct Beginning Music like?
Vermilion strings produced a depth and transcendence like the purest temple song.
一弹一唱再三叹，曲澹节稀声不多。
A single pluck or sung note could call forth three sighs of praise;
Its melodies were tranquil, its rhythms sparse, and its sounds few.
融融曳曳召元气，听之不觉心平和。
Happy and harmonious, gently floating and fluttering, it induced vigor and vitality,
And listening to it, one couldn't help but feel their heart at peace.
人情重今多贱古，古琴有弦人不抚。
But human sentiments are much cheaper today than they were in the past,
And if presented with an ancient qin (even one properly strung), people wouldn't touch it.
更从赵璧艺成来，二十五弦不如五。
After having experienced Zhao Bi's artistic achievements,
It's clear that 25 strings can't compare to five.

More information:

Zheng (卫) and Wei (郑) were states during the Spring and Autumn and Warring States periods, whose music was disparaged by some conservative Confucians as immoderate or lascivious; "the music of Zheng and Wei" subsequently became an idiom referring to vulgar "popular" music used for superficial entertainment or sensual pleasure rather than moral cultivation.

Notes:

More information:

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《五弦行》
作者：韦应物（唐）
by Wei Yinwu (Tang Dynasty, c. 737-c. 792)

美人为我弹五弦，尘埃忽静心悄然。
古刀幽磬初相触，千珠贯断落寒玉。
中曲又不喧，徘徊夜长月当轩。
如伴风流萦艳雪，更逐落花飘御园。
独凤寥寥有时隐，碧霄来下听还近。
燕姬有恨楚客愁，言之不尽声能尽。
末曲感我情，解幽释结和乐生。
壮士有仇未得报，拔剑欲去愤已平。
夜寒酒多愁遽明。

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《和李校书新题乐府十二首·五弦弹》
(Wu Xian Tan)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

赵璧五弦弹徵调，徵声巉绝何清峭。
辞雄皓鹤警露啼，失子哀猿绕林啸。
风入春松正凌乱，莺含晓舌怜娇妙。
呜呜暗溜咽冰泉，杀杀霜刀涩寒鞘。
促节频催渐繁拨，珠幢斗绝金铃掉。
千靫鸣镝发胡弓，万片清球击虞庙。
众乐虽同第一部，德宗皇帝常偏召。
旬休节假暂归来，一声狂杀长安少。
主第侯家最难见，挼歌按曲皆承诏。
水精帘外教贵嫔，玳瑁筵心伴中要。
臣有五贤非此弦，或在拘囚或屠钓。
一贤得进胜累百，两贤得进同周召。
三贤事汉灭暴彊，四贤镇岳宁边徼。
五贤并用调五常，五常既叙三光耀。
赵璧五弦非此贤，九九何劳设庭燎。

Notes:

引用典故：三贤事汉

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Historical specimens

Front and back of the antique inlaid Tang Dynasty 5-stringed pipa (螺鈿紫檀五絃琵琶 / らでんしたんのごげんびわ) in the collection of the Shōsōin Repository (正倉院) in Nara, Japan.  This instrument was probably made in China and presented to the Japanese court in the 8th century.

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Bibliography

● Nelson, Steven G. スティーヴン・G・ネルソン.  "Gogen-fu shinkō:  Omo ni gogen-biwa no jūsei oyobi chōgen ni tsuite"「五絃譜新考一主に五絃琵琶の柱制及び調絃について一」 [The Gogen-fu, a Japanese Heian-Period Tablature Score for Five-Stringed Lute:  Concentrating on the Fret System and Tunings of the Instrument].  Tōyō ongaku kenkyū 『東洋音楽研究』[Journal of the Society for Research in Asiatic Music], vol. 50 (1986):  pp. 13-76.  [Contains a detailed English summary of sections 4 through 9.]
● Nelson, Steven G.  "Issues in the Interpretation of Notation for East Asian Lutes (Pipa/Biwa) as Preserved in Scores of the Eighth to Twelfth Centuries."  Nihon Ongakushi Kenkyū:  Studies in the Historiography of Japanese Music, vol. 8 (September 2012), pp. 1-41.
● Wolpert, R. F.  "The Five-Stringed Lute in East Asia."  Musica Asiatica, vol. 3 (1981), pp. 97-106.
● Wolpert, R. F.  "A Ninth-Century Score for Five-Stringed Lute."  Musica Asiatica, vol. 3 (1981), pp. 107-135.

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Glossary

● 拨子 (bozi) - plectrum used for plucking the strings of the wuxian pipa and other lutes
● 琵琶槽 (pipa cao, literally "pipa trough") - the hollow soundbox/resonator of a wuxian pipa, forming the instrument's back, which was usually carved from a single block of hardwood

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Thanks to Lin Chiang-san for assistance with this page.

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Friday, July 8, 2022

Musical instrument: yazheng (軋箏)

Musical instrument:  yazheng
(軋箏)
compiled by David Badagnani (rev. 20 May 2023)
Detail of large-scale dui juan (堆绢, artwork made from colored silk) or jing dui jin (景堆锦) 8-panel silk screen depicting a standing musician playing a vertically held yazheng with 9 strings, part of a banquet scene entitled "Guo Ziyi Zhushou Tu"《郭子仪祝寿图》(Celebrating Guo Ziyi's Birthday), "Guo Ziyi Danchen Zhushou Tu"《郭子仪诞辰祝寿图》(Guo Ziyi's Birthday Celebration), or "Tang Fenyang Wang Shoudan Tu"《唐汾阳王寿诞图》.
Probably made in Shanxi province (山西省), northern China, early Ming Dynasty (1368-1644).  This artifact is believed to have been commissioned by Li Yuan (李源), a member of the Ming royal family from Changzhi (长治市), southeastern Shanxi province (山西省), northern China, and was formerly kept in the ancestral hall of the Zhao family (赵家祠堂) in Xiayao Village (下瑶村), Fenglingdu Town (风陵渡镇), Ruicheng County (芮城县), southwestern Yuncheng (运城市), southwestern Shanxi province (山西省), northern China, where the clan had later settled.  Collection of the Ruicheng County Museum (芮城县博物馆), Ruicheng County (芮城县), southwestern Yuncheng (运城市), southwestern Shanxi province (山西省), northern China.

In an effort to make this information more accessible, this document contains resources related to the Chinese sound-producing device called yazheng (軋箏)--a bridge zither played by rubbing its strings with a rosined stick (or horsehair bow), which first appeared in the Kaiyuan period (713-741) of the Tang Dynasty, and reached its height of popularity in the Ming Dynasty (1368-1644).

As the Taipei-based musicologist Mr. Lin Chiang-san (林江山) points out, the "ya" (軋) in yazheng was at first, in Tang times, used as a verb, this syllable being pronounced in Middle Chinese as "ʔˠat̚" (with initial glottal stop followed by a voiced velar fricative, which is pronounced like the Arabic ghayn, غ)--i.e., an onomatopoeic rendering of a rather creaky sound generated by rubbing.  In this light, some of the earliest appearances of the phrase "軋箏" should probably be understood as a verb-object construction (ya zheng, literally "rub the zheng"), referring to this novel way of sounding a preexisting instrument, rather than a noun (yazheng) referring to a bridge zither built specifically to be played by rubbing, although such instruments eventually were developed.  By the Song and Yuan dynasties, the yazheng was described as having seven strings and seven bridges, with this number eventually being increased to nine by the Ming Dynasty.

From approximately the Southern Song through Qing dynasties, the yazheng was sometimes referred to in official sources as qín (𥱧).  Following the Ming Dynasty, the yazheng died out in China, though small hand-held versions are still used in folk traditions in several areas, such instruments being called by such local names as yaqin (轧琴), yazhengqin (轧筝琴), laqin (拉琴), waqin (瓦琴), tangqin (唐琴), fuqin (福琴), shenqin (神琴), fuqin (拂琴), shuiqin (水琴), cuoqin (挫琴), cheng (堘), zhentouqin (枕头琴), zhen (蓁), chuang (床), chengni (琤尼), Zhuang zu qi xian qin (壮族七弦琴), and wenzhenqin (文枕琴).

In early 21st century, Mr. Wei Daomou (魏道谋, 1929-2019), the owner of Zhonghua Guoyueqi Youxian Gongsi (中华国乐器有限公司, Chinese National Musical Instruments, Ltd.), in Taipei, Taiwan, a factory that primarily manufactured guzheng, revived the yazheng, producing a line of instruments of various sizes.  Wei's 2009 patent document may be found at the following link:
https://patents.google.com/patent/CN201556406U/zh

Around 2020, a similar project to revive the yazheng was launched through a partnership between the Peng Liying Team of the Beijing Musical Instrument Research Institute (北京乐器研究所彭丽颖团队) and master craftsmen of the Shanghai Dunhuang Musical Instruments Co., Ltd.  The video demonstration of the resulting instrument, which was released online on June 16, 2022, may be viewed at the following link:

Outside China, the yazheng was adopted in the court music of the Ryukyu Kingdom (1429-1879), where it was called teisō (提箏 / テイソウ).  Another yazheng descendant, the ajaeng (아쟁 / 牙箏), remains in use in Korea, where it is used to play court, folk, and popular musics.  An instrument derived from the yazheng was also apparently formerly used in the nhã nhạc court banquet music of Huế, Vietnam.

Links to textual sources are highlighted in green.

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Chinese historical reference works discussing the yazheng

● 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 yazheng is mentioned briefly in volume 29, as follows:

「轧筝，以片竹润其端而轧之。」


● Yue Shu《乐书》(The Book of Music/Monograph on Music) by Chen Yang (陈旸, 1064-1128)
Completed in 1104 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 yazheng is illustrated and described in chapter 146:

「唐有軋箏，以竹潤其端而軋之，因取名焉。」


Illustration and description of a yazheng from the Qing Dynasty-era book Qing Chao Xu Wen Xian Tong Kao
《清朝续文献通考》, published in China in the early 20th century.  Note that this instrument is depicted
without bridges, and that it is accompanied by a stick rather than a horsehair bow.

Detail of "Ming Xianzong Yuanxiao Xingle Tu"《明宪宗元宵行乐图》, a scroll painting depicting a procession
of musicians including a yazheng player, in the court of the Chenghua Emperor (r. 1464-1487, temple name: Xianzong), at a Lantern Festival celebration in the year 1485, the 21st year of the Chenghua era.
Color on silk.  China, Ming Dynasty (c. 1485).  Height: 14.45 in. (36.7 cm); length: 271.65 in. (690 cm).
Collection of the National Museum of China, Beijing, China.

● Qing Shigao《清史稿》(Draft History of Qing), the official history of the Qing Dynasty, was published in draft form in 1928 (actually during the Republic Period).  The yazheng is mentioned in volume 101.

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Chinese poems mentioning the yazheng

《题张处士山庄一绝》
作者：杜牧（唐）
by Du Mu (Tang Dynasty, 803-852)

好鸟疑敲磬，风蝉认轧筝。
修篁与嘉树，偏倚半岩生。

*   *   *   *   *   *   *   *   *

《观李中丞洪二美人唱歌轧筝歌（时量移湖州长史）》
作者：皎然（唐）
by Jiaoran (Tang Dynasty, 730-799)

君家双美姬，善歌工筝人莫知。
轧用蜀竹弦楚丝，清哇宛转声相随。
夜静酒阑佳月前，高张水引何（一作仍）渊渊。
美人矜名曲不误，蹙响时时如迸泉。
赵琴（一作瑟）素所嘉，齐讴世称绝。
筝歌一动凡音辍，凝弦且莫停金罍。
淫（一无淫字）声已阕雅声来，游鱼噞喁鹤裴回，主人高情始为开。
高情放浪出常格，偶世有名道无迹。
勋业先登上将科，文章已冠诸人籍。
每笑石崇无道情，轻身重色祸亦成。
君有佳人当禅伴，于中不废学无生。
爱君天然性寡欲，家贫禄薄常知足。
谪官无愠如古人，交道忘言比前躅。
不意全家万里来，湖中再见春山绿。
吴兴公舍幽且闲，何妨寄隐在其间。
时议名齐谢太傅，更看携妓似东山。

*   *   *   *   *   *   *   *   *

《听轧筝》
Ting Yazheng (Listening to the Yazheng)
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

满座无言听轧筝，秋山碧树一蝉清。
只应曾送秦王女，写得云间鸾凤声。

*   *   *   *   *   *   *   *   *

《最高楼》
The Highest Tower (Zuigao Lou)
作者：崔木（北宋）
by Cui Mu (Northern Song Dynasty)

蹇驴缓跨，迢递至京城。
当此际，正芳春。
芹泥融暖飞雏燕，柳条摇曳韵鹂庚。
更那堪，迟日暖，晓风轻。

算费尽、主人歌与酒，更费尽、青楼𥱧与筝。
多少事，绊牵情。
愧我品题无雅句，喜君歌咏有新声。
愿从今，鱼比目，凤和鸣。

*   *   *   *   *   *   *   *   *

《瑞鹧鸪 其一》
The Auspicious Partridge, no. 1 (Rui Zhegu, Qi Yi)
作者：张元干（宋）
by Zhang Yuanqian (Song Dynasty, 1091-1161 or c. 1170)

雏莺初啭斗尖新。
双蕊花娇掌上身。
总解满斟偏劝客，多生俱是绮罗人。

回波偷顾轻招拍，方响低敲更合𥱧。
豆蔻梢头春欲透，情知巫峡待为云。

*   *   *   *   *   *   *   *   *

《鹧鸪天 其二》
作者：刘仲尹（金）
by Liu Zhongyin (Jin Dynasty, fl. 1157)

骑鹤峰前第一人。
不应著意怨王孙。
当年艳态题诗处，好在香痕与泪痕。

调雁柱，引蛾颦。
绿窗弦索合筝𥱧。
砌台歌舞阳春后，明月朱扉几断魂。

*   *   *   *   *   *   *   *   *

《鹧鸪天 其四》
作者：刘仲尹（金）
by Liu Zhongyin (Jin Dynasty, fl. 1157)

璧月池南剪木栖。
六朝宫袖窄中宜。
新声蹙巧蛾颦黛，纤指移𥱧雁着丝。

朱户小，画帘低。
细香轻梦隔涪溪。
西风只道悲秋瘦，却是西风未得知。

*   *   *   *   *   *   *   *   *

《绮罗香 其一 咏柳外闻蝉三章》
作者：徐鹿卿 （南宋）
by Xu Luqing (Southern Song Dynasty, 1189 or 1190-1250)

障暑稠阴，梳凉细缕，□□□□□□。
露腋玲珑，多少闹中幽趣。
断又续、可是无情，□相送、短长亭路。
记春风、曾著莺啼，便娇那得袅如许。

知音人自暗省，凝睇青云影里，黄昏犹伫。
一部笙𥱧，消得翠腰供舞。
堪对景、翻入新妆，鬓影低、衬教眉妩。
试回头、旧日章台，怕听声咽处。

*   *   *   *   *   *   *   *   *

《鼓琴》
作者：耶律楚材（金末元初）
by Yelü Chucai (late Jin Dynasty, early Yuan Dynasty, 1190-1244)

宴息穹庐中，饱食无用心。
读书费目力，苦思嫌哦吟。
樗蒲近博徒，围棋杀机深。
洞箫耗余气，𥱧筑恶郑音。
呼童炷梅魂，索我春雷琴。
何止销我忧，还能禁邪淫。
正席设棐几，危坐独整襟。
寻徽促玉轸，调弦思沈沈。
清声鸣鹤鸾，古意锵石金。
秋水洗尘耳，秋风振高林。
清兴腾八表，成连何必寻。
弦指忽两忘，世事如商参。
泥涂视富贵，昼夜等古今。
湛然有幽居，祗在闾山阴。
茅亭绕流泉，松竹幽森森。
携琴当老此，归去投吾簪。

*   *   *   *   *   *   *   *   *

《赠蒲察元帅七首 其二》
作者：耶律楚材（金末元初）
by Yelü Chucai (late Jin Dynasty, early Yuan Dynasty, 1190-1244)

积年飘泊困边尘，闲过西隅谒故人。
忙唤贤姬寻器皿，便呼辽客奏筝𥱧。
葡萄架底葡萄酒，杷榄花前杷榄仁。
酒酽花繁正如许，莫教辜负锦城春。

*   *   *   *   *   *   *   *   *

《绮罗香 其三》
作者：陈著（南宋）
by Chen Zhu (Southern Song Dynasty, 1214-1297)

霁晓楼台，斜阳渡口，凉腋新声初到。
占断清阴，随意自成宫调。
看取次、颤引薰风，想无奈、露餐清饱。
有时如、柔袅𥱧丝，忽如笙咽转娇妙。

谁知忧怨极处，轻把宫妆蜕了，飞吟枝杪。
耳畔如今，悽感又添多少。
愁绪正、萦绕妆台，怎更禁、被他相恼。
送残音、立尽黄昏，月明深院悄。

*   *   *   *   *   *   *   *   *

《听筝》
Listening to the Zheng (Ting Zheng)
作者：姚勉
by Yao Mian (Southern Song Dynasty, 1216-1262)

春檐雪乾初日长，帘花深压梅影香。
美人帐中午睡起，钗横鬓亸慵添妆。
文窗窈窕鲛绡绿，卧按古筝横漆玉。
微揎翠袖露春葱，学弄梁州初遍曲。
拂弦轻揠三两声，问渠学曲成未成。
已成未成君莫问，听取軮轧伊嘤鸣。
七弦一似焦琴样，立雁参差相下上。
左按天孙织锦丝，右斡仙人飞海杖。
轻拔浅揠声短长，疾徐洪纤抑复扬。
瓶笙吐韵出蚓窍，云车碾响升羊肠。
双龙晓日吟秋水，孤鸾春风悲镜里。
清猿嘹喨万松间，雏莺惺松百花底。
平生有耳喜此听，手不能作心自醒。
除却高山与流水，琵琶箜篌俱径庭。
楼中弄玉吹箫侣，同学丹山凤凰语。
凤凰凤凰来不来，萧史行云在何许。

More information:

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《文姬归汉图》
作者：刘辰翁（宋末元初）
by Liu Chenweng (late Southern Song Dynasty, early Yuan Dynasty, 1232-1297)

鹤巢覆绝孔文举，锦衾裹葬杨德祖。
铜雀春风歌舞长，独复悽然若人女。
故人有女胜无儿，满腹兴亡身属谁。
琴烧笛折𥱧灰冷，开卷草深归鹤饥。
美人用事单于国，细马驼金为余北。
曾从过雁借书看，又向枯鱼寄声得。
胡笳日听心自哀，天遣前朝汉使来。
穹庐抱子送于野，欲去欲往真难哉。
大儿牵衣小儿乳，割乳分携泪如雨。
跂马儿啼渐不闻，肠断一如初遇虏。
画图巧画欲无声，不尽贤王子母情。
踟蹰拳局各有态，未必日暮分驰能。
天长地久何终极，事已不堪回首觅。
草无南北是青青，云有朝昏长幂幂。
琵琶恨绝妒难消，海上羝儿梦岂遥。
入见玉关天似锦，归从金马晚当朝。
容仪憔悴恩无骨，记问荒唐存又没。
卫郎去我墓何斯，魏史亲人礼难越。
当时一女赎元身，乱代流离更可闻。
天南地北有归路，四海九州无故人。

*   *   *   *   *   *   *   *   *

《写生碧桃花歌》
作者：张羽（元末明初）
by Zhang Yu (late Yuan Dynasty, early Ming Dynasty, 1333-1385)

少年惯作看花客，陌上桃花总相识。
春风似向此中偏，一种花开百般色。
只爱深红更残红，君家此本更不同。
枝上白云吹不散，阶前明月照疑空。
一从一衡根各别，香上斜封愁欲折。
画筵红烛人半醉，忽见此花惊是雪。
武陵秦人那得知，河阳满县徒尔为。
当时东风千树锦，未比君家琼树枝。
翠禽飞来嗟易见，粉蝶栖时难可辨。
红妆美女娇如花，着向花间应掩面。
花今正开莺乱啼，酒醒拈笔为君题。
羡君兄弟如虹霓，豪饮不愁花下迷。
玉壶清酒金偏提，𥱧筝琵琶羌管齐。
走觅桥西旧酒伴，莫待风雨花成泥。

*   *   *   *   *   *   *   *   *

《宫人入道》
作者：田汝𦓹（明）
by Tian Rulai (Ming Dynasty)

妾身自侍昭阳殿，锦幕云屏朝复晏。
艳舞云飘绮席香，娇歌声断金壶箭。
金壶箭涩漏声寒，闷倚𥱧筝不忍弹。
凤凰钗冷云鬟湿，翡翠罗轻玉骨单。
红楼紫殿春将暮，卢橘杨梅委墀路。
玉兔西沈不复东，可怜春色花朝露。
朝露才晞霜霰濛，梧桐金井落秋风。
妾身自念非金石，敢望君恩岁岁同。
君恩自古谁能保，愿请瑶池弄瑶草。
吸露餐霞学驻颜，青蛾皓齿年年好。
珠帘绣箔锦云绦，侧想钧天奏玉璈。
暗解同心鸳帐结，竟随玄圃凤群翱。
凤翱飞入碧云里，可怜呜咽宫前水。
宫水东流竟不还，玉阶琪树空连理。
殷勤再拜嘱宫官，好向宫中奉御欢。
异日丹成升碧落，尚迎金跸共骖鸾。

*   *   *   *   *   *   *   *   *

《弹琴》
Playing the Qin (Tan Qin)
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)

泠泠太古音，淡淡分宫徵。
吁嗟𥱧与筝，繁听恼人耳。

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《席上音乐杂咏十首 其九 𥱧》
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)

妙响杂笙竽，度词应不误。
几多儿女情，昵昵凭谁诉。

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《伯劳吟》
作者：杨慎（明）
by Yang Shen (Ming Dynasty, 1488-1559)

南中有鸟名伯劳，禽经羽族称雄豪。
曾隶九苞来拣竹，耻随百舌绕蓬蒿。
青春受谢，四月维夏。
茂树薰风，长林短夜。
伊伊喔喔未有声，架架格格先鸡鸣。
阶前停蚓笛，江上住鼍更。
熠耀收灯火，蟋蟀罢𥱧筝。
村妇侵星提瓮汲，山农带月架犁耕。
戴胜降桑人共羡，鶗鴂歇芳君不见。
寄信难凭北去鸿，单栖肯逐西飞燕。
故乡迢递水云深，客游闻此几惊心。
何时高枕松窗下，细听桐花小凤吟。

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《贺新郎 其一 夜饮用蒋竹山韵》
作者：王士禛（清初）
by Wang Shizhen (early Qing Dynasty, 1634-1711)

过雨花如绣。
正罘罳、低垂四面，繁英香透。
结客十年知己少，何似银尊翠袖。
莫须问、涛飞山走。
且解金龟休作恶，未伤神、丝竹中年后。
空泪堕，金城柳。
长安一雨分新旧。
更谁能、望尘膝席，争名鸡口。
高誓安期灵气尽，一望三山似阜。
但海水、尽成醇酒。
鹦鹉螺卮金不落，问狂生、得似公荣否。
休暂住，挨𥱧手。

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《观俞锦泉家乐》
作者：汤右曾（清初）
by Tang Youzeng (early Qing Dynasty, 1656-1721)

我醉来为蕊宫客，丹梯直上三十级。
红牙檀板才一声，珠裙美人雁行立。
平开宝靥玉色匀，小曳罗襦香气袭。
谁其主者芙蓉仙，紫衫两部回春妍。
云窗雾阁到今夕，绝艺一一谁争先。
白雨催来羯鼓点，绿腰撚出琵琶弦。
宜春院中搊轧筝，双成座上吹和笙。
一枝铁𥴦水龙吟，三尺玉箫雏凤鸣。
忽闻清音起重叠，姊妹桃根复桃叶。
等閒听出犹可怜，况是蛾眉好腰衱。
歌扇新开琼树花，舞衫旧罥春风蝶。
不记今宵正三五，璧月中天夜巳午。
哀丝急管烂不收，肯捉回鞭踏街鼓。
巴笺叠幅当报投，更索斗酒飞觥筹。
狂言一发惊座不，欲为越女三年留。

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《同北墅漱田观西洋乐器》
作者：赵翼（清）
by Zhao Yi (Qing Dynasty, 1727-1814)

郊园散直归，访奇番人宅。
中有虬须叟，出门敬迓客。
来从大西洋，官授羲和职。
年深习汉语，无烦舌人译。
引登天主堂，有象绘素壁。
靓若姑射仙，科头不冠帻。
云是彼周孔，崇奉自古昔。
再游观星台，爽垲上勿羃。
玻瓈千里镜，高指遥天碧。
日中可见斗，象纬测晨夕。
斯须请奏乐，虚室静生白。
初从楼下听，繁响出空隙。
噌吰无射钟，嘹喨蕤宾铁。
渊渊鼓悲壮，坎坎缶清激。
錞于丁且宁，磬折拊复击。
瑟希有馀铿，琴澹忽作霹。
紫玉凤唳箫，烟竹龙吟笛。
连挏椌楬底，频栎锄铻脊。
鼗耳柄独摇，笙舌炭先炙。
吸嘘竽调簧，节簇笳赴拍。
篪疑老妪吹，筑岂渐离掷。
琵琶铁拨弹，𥱧筝银甲画。
寒泉涩箜篌，薄雪飞筚篥。
孤倡辄群和，将喧转稍寂。
万籁繁会中，缕缕仍贯脉。
方疑宫悬备，定有乐工百。
岂知登楼观，一老坐搊擘。
一音一铅管，藏机捩关膈。
一管一铜丝，引线通骨骼。
其下鞴风橐，呼吸类潮汐。
丝从橐罅绾，风向管孔迫。
众窍乃发响，力透腠理砉。
清浊列若眉，大小鸣以臆。
韵仍判宫商，器弗假匏革。
虽难继韶頀，亦颇谐皦绎。
白翎调漫雄，朱鹭曲未敌。
奇哉创物智，乃出自蛮貊。
缅惟华夏初，神圣几更易。
鸑鷟肇律吕，秬黍度寸尺。
嶰谷截绿筠，泗滨采浮石。
元声始审定，万古仰创获。
迢迢裨海外，何由来取则。
伶伦与后夔，姓名且未识。
音岂师矌传，谱非制氏得。
始知天地大，到处有开辟。
人巧诚太纷，世眼休自窄。
域中多墟拘，儒外有物格。
流连日将暮，莲漏报酉刻。
归将写其声，画肚记枕席。

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《罥马索 长夏苦雨，西屏再谱此调，徵予继声》
作者：樊增祥（清末民国初）
by Fan Zengxiang (late Qing Dynasty, early Republic period, 1846-1931)

飐西风，蛛网飘丝上帘竹。
藜床睡起，满天凉雨梅初熟。
秦𥱧语涩，楚衣香润，小槅蝉纱秋烟绿。
更晚来滴碎芭蕉，故与尊前破幽独。

遥嘱。
乍疏仍密，似喧还静，画舫斋头泻鸣玉。
夜夜总如秋夜，与君同剪西窗烛。
风亭水榭，梦里江南，忆否潇潇吴娘曲。
待晓晴倚楼，凝望远岫，烟鬟赛新沐。

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Additional Web materials about the yazheng

● Bowed and rubbed Asian zithers YouTube playlist (maintained by David Badagnani)

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Thanks to Lin Chiang-san for assistance with this page.

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