-Su Shi
If there is a piano sound on the piano, why not put it in the box?
if the voice is on your fingers, why not listen to it on your fingers?
Appreciation
Wei Yingwu in the Tang Dynasty wrote a song "Listening to the Sound of Jialing River Send a Deep Message to the Master": "Rock drilling and rushing are called the ancient gods' jade traces. In the night, the mountain store is noisy, and it is uncomfortable to stay alone. The water is quiet from the clouds, and the stone is silent. How to excite 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 the piano. 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 so-called "Big Four", Volume 5 of "Jin Guangming is the Best King Classic" says: "For example, when an institution changes from an industry, fire, water and wind become a body. If you follow him, he will attract different fruits, and one will be harmful in one place, such as four poisonous snakes with a basket. " "Yuanjue Jing" said: "I am always here to read, and I am now in this body, and the four are in harmony." The Shurangama Sutra once explained what turbidity is: "Clear water, for example, is clean, that is, the relationship between dust and sand, the essence of which is hindered, and the two bodies are different." There are people in the world who take dirt and throw it into clean water. When the soil is lost, the water is clean, and the appearance is awkward, 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, although they have wonderful sounds, can't be made without wonderful fingers." -Su Shi's poem is simply the visualization of this passage.
Notes on Poetry
Literally, if the piano can make its own sound, why is it lost when it is put in a box? If the sound comes from the hair of fingers, why can't you hear the music directly through your ears and close to your fingers?
what Su Shi thinks in this poem is: How does the piano make sound? In fact, the reason why the piano can play beautiful music depends not only on the piano, but also on the fingers of people. Only when the two complement each other can beautiful music be played.
This poem is very philosophical and full of meditation. Buddhism regards doing as nothing, living as extinction, pursuing silence, invisibility and irreducibility, and the truth of music is nothingness. Therefore, music doesn't matter whether it is true or not. It should be based on "harmony of silent joy, self-satisfaction as harmony" and "anti-smell of self-nature, and nature becomes supreme", and self-satisfaction and anti-enlightenment of Zen Buddhism should be achieved through inner feelings. The title Shen Junqin denies the relationship between the piano and the finger and the sound of music, and its thought is similar to that in Leng Yan Jing, "Sound is neither extinct nor alive, and life and death are separated, so it is often true".
It is worth noting that the relationship between piano and sound mentioned in the poem "On Shen Junqin" is also a question of image and meaning in piano music, which implies the meaning of "forgetting words with pride", which has the same meaning as Tao Yuanming's "but knowing the piano is interesting, why bother to play on the strings?" "Meaning" is one of the most emphasized aesthetic categories in traditional Guqin aesthetics. The idea of "meaning" in Qin music was first put forward in Volume 5 of Biography of Han Poems:
Confucius learned the drum piano from the teacher Xiangzi, who said, "The master can enter."
Confucius said, "Qiu has got his song, but he has not got its number."
There is a room, saying, "Master can enter."
yue: "Qiu has got his number, but he didn't get his meaning."
There was a room, and he replied, "Master can enter."
yue: "Qiu has got what he wants, but he hasn't got it."
There was a room, and he replied, "Master can enter."
yue: "Qiu has got his man, but he has no other kind."
there is a room, saying, "I'm sure I'll make this fun when I look at it from a distance, and it's magnificent and fluttering!" It' s dark and dark, but it' s a long time. It' s the king of the world and the princes. It' s only the king of the text! "
Shi Xiangzi left the table and bowed again, saying, "Good! The teacher thought that Wen Wang's exercise was also. " Therefore, Confucius knew the king of Wen by his voice.
this paper records the process of Confucius' learning Wen Wang Cao, from obtaining its tune (tune) to its number (structure), its meaning (implication), its person (person), and finally its kind (appearance). Here, the aesthetic category of "meaning" was first applied to guqin music, and obtaining the inner meaning of music was regarded as an important aesthetic stage. After that, as an aesthetic category, "Yi" always runs through the later Qin theory, which has a great influence on the traditional Guqin aesthetics. There is a wonderful exposition in Jade Song's Qin Lun, which puts forward the aesthetic proposition that "playing the piano should not be bitter", and holds that "most of the methods of playing the piano are based on complacency. Although you don't forget to sleep and eat, if you can't play one or two songs, you will be poor." Shen Kuo in Song Dynasty praised the piano monk Yi Hai for his superb piano skills, and also said that "the art of the sea lies not in the sound, but in the sound, which is beyond everyone's reach" ("Mengxi Bi Tan Bu Bi Tan").
Tao Yuanming's proposition that "it's interesting to know the piano, but why bother to play on 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". From this, Guqin aesthetics attaches importance to the relationship between image and meaning, and gradually forms a formula of emphasizing meaning over image in Guqin aesthetics, with the pursuit of implication as the highest realm of Guqin performance.