-Su Shi
If the piano is hair, why don't you put it in the box?
If the piano sounds from your hands, why can't you hear the sound?
Make an appreciative comment
In the Tang Dynasty, Wei Youshi wrote "Listening to the Sound of Jialing River to Send a Boudoir": "Drilling rocks and rushing, that is, ancient gods and jade traces. At night, the mountain shop is noisy and it is uncomfortable to stay alone. The water is still from the clouds, but the stone is silent. How to stimulate the two phases, and the thunder turns into an empty mountain? The door is old, so I feel sorry for it. "The writer's doubts and understanding of the relationship between water and stone are the same as Su Shi's On Qin. This is actually a profound philosophical problem, because in Buddhism's view, everything is caused by karma and combination, and things exist only because of their connection. That is, as the fifth volume of the so-called "Big Four" and "Jin Guangming's Best King Classic" said: "For example, if an institution changes from an industry, fire, water and wind will become an entity. If you follow him, he will attract different fruits, one is harmful in one place, like a basket of four poisonous snakes. " "Jue Yuan Jing" said: "I often study here, and now I am here, and the four are integrated. "The Shurangama Sutra once explained what turbidity is:" Clear water is as clean as water, that is, the relationship between dust and sand is blocked in essence, and the two bodies are different. "Some people in the world throw dirt into clean water. When the soil is lost, the water is clean and the appearance is turbid, which is called turbidity. " In other words, "turbidity" is formed by the interaction between dust and clear water. Another passage makes it more clear: "For example, the harp, harp and pipa have wonderful sounds, but they can't be made without wonderful fingers." -This poem by Su Shi is simply the visualization of this passage.
Poetry annotation
Literally, if the piano can make its own sound, why put it in a box without music? If the sound comes from the hair of your fingers, why can't you hear the music directly through your ears and close to your fingers?
Su Shi's thinking in this poem is: How does the piano sound? In fact, the reason why the piano can play beautiful music depends not only on the piano but also on people's fingers. Only when the two complement each other can beautiful music be played.
This poem is very philosophical and full of meditation. Buddhism regards nothingness, life as extinction, and pursues silence, seclusion and irreducibility, and joy is really nothingness. So, music doesn't matter whether it's true or not. It should be based on "the harmony of silence and joy, self-satisfaction and harmony" and "the self-awareness, the supremacy of nature", and the self-satisfaction and anti-enlightenment of Zen should be realized through inner feelings. Shen Shen denies the relationship between the piano finger and the sound of music, and his thought is similar to that in the Shurangama Sutra, "The sound is immortal, life and death are separated, so it is often true."
It is worth noting that the relationship between the piano and the sound mentioned in the poem "On Shen" is also a problem of image and meaning in piano music, which implies the meaning of "forgetting the words with pride", and Tao Yuanming's "only knowing the interest of the piano, why bother to sound on the string" and "meaning" are one of the most emphasized aesthetic categories in traditional guqin aesthetics. Qin Le's proposal of "meaning" first appeared in Volume 5 of Han Shi Zhuan:
Confucius learned guqin from teacher Xiangzi, who said, "Confucius can enter."
Confucius said, "Autumn has its songs, but there are no numbers."
Once, he said, "Master can enter."
Yue: "Autumn can get its number, but not its meaning."
Once, he replied, "Master can enter."
Yue: "Autumn gets what it wants, but not what it wants."
Once, he replied, "Master can enter."
Yue: "Autumn has its people, but not its species."
Once, he said, "If you look at it from a distance, it will be fun!"! It was dark, but it took a long time. Kings and princes of the world. It is just the king of text! "
Shi Xiangzi left the table, bowed again and said, "Good! The teacher thought that Wang Wen's exercises were also. " So Confucius knew King Wen by voice.
This paper records the process of Confucius' learning Cao, from having fun (tune) to having its number (structure), its meaning (meaning), its person (being a man) and finally its appearance. Here, the aesthetic category of "meaning" is applied to Guqin music for the first time, and obtaining the inner meaning of music is regarded as an important aesthetic stage. Since then, "Yi", as an aesthetic category, has always run through the later Qin theory, which has had a great influence on the traditional Guqin aesthetics. There is a wonderful exposition in Jade Song's On the Qin, which puts forward the aesthetic proposition that "playing the piano should not be bitter" and holds that "the method of playing the piano is mostly based on complacency. Although I don't forget to sleep and eat, I will be poor if I can't play one or two songs. " In the Song Dynasty, Shen Kuo praised Yi Hai, a piano monk, for his superb piano skills, and said that "the art of the sea lies not in sound, but in sound, which is beyond anyone's reach" ("Meng Qian talks about writing without writing").
Tao Yuanming's proposition that "it's interesting to know the piano, why bother to play the strings" also thinks that the true meaning of music lies not in the sound itself, but outside the sound, which shows his pursuit of the meaning beyond the strings and affirms the beauty of "no strings". Therefore, Guqin aesthetics attaches importance to the relationship between image and meaning, and gradually forms a formula that values meaning over image in Guqin aesthetics, with the pursuit of meaning as the highest realm of Guqin performance.