Yanagida Seizan's 柳田聖山 chapter on Yinyuan

Yanagida Seizan 柳田聖山 （1922-2006）educated a generation of American scholars of East Asian Buddhism. He was often considered an eminent scholar of early Chinese Chan history. But rarely known is that he has written a passionate essay about Yinyuan Longqi 隱元隆琦 in a popular book on Zen and Japanese Culture.

Prof. Tu Weiming's Autographed Papers

Prof. Tu Weiming 杜维明 was my academic advisor during my years at Harvard (1996-2002). I recently recovered two papers he gave me. I am still reading his works. Greatly inspired.

Master Donggao's Music Notes (Donggao qinpu/ Tōkō kinfu 東皋琴譜) featured in the concert POETIC MELODY FROM HANGZHOU 杭州詩韵

 

POETIC MELODY FROM HANGZHOU杭州詩韵 Lead Musician:                      He-Yi 何怡, Vocal & Guqin (Chinese Zither) This event will be broadcast twice in two different times and platforms for North American and Asian audiences respectively. You are welcome to join any of the performances. For other time zones, please use a time zone converter, as Arizona does not observe Daylight Savings Time. To receive a link to view the concert and an electronic program book in English and Chinese, please sign up for our email list here: http://eepurl.com/gb2yaD. You should receive a Zoom link automatically. If you are already on our list, you should have received the link. This link will allow you to access all of our 2020 fall events. No need to register multiple times. American Premiere and Viewing Platform: Date/Time in Arizona:           Nov. 7, 2020, 7 pm - 8 pm (MST) Center for Buddhist Studies Youtube Channel, Facebook, Zoom Asian Premiere and Viewing Platform: Date/Time in Beijing:            2020, Nov. 7, 7 pm - 8 pm (BST) Ms. He-Yi’s bilibili channel. Program: 1. “Ding Feng Bo” 定風波 (Calming Wave and Wind), lyrics by Su Shi 蘇軾 (1037-1101)，Hangzhou Mayor, composed by Jin Wei, 3’30 2. “An Xiang” 暗香 (Fragrance from Somewhere Unseen), lyrics and music composed by Jiang Kui  姜夔 (1155-1221), resident of Hangzhou, adapted by Liu Qing, 4’30 3. “Gu Yuan” 古怨 (Ancient Lament), lyrics and music composed by Jiang Kui, resident of Hangzhou, transcribed by Wu Wenguang, 4’00 4. “Zhu Zhi Yin”  竹枝吟 (Song of Bamboo Twigs), lyrics by Liu Yuxi 劉禹錫 (772-842), music from Master Donggao’s Musical Notation for Chinese Zither (Donggao qinpu/ Tōkō kinfu 東皋琴譜), a 17th century collection of Chinese music originating from Yongfu Temple in Hangzhou, transcribed by Wu Wenguang, 3’30 5. “Qiu Feng Ci” 秋風辭 (Autumn Wind Lyrics), lyrics by Emperor Wu of the Han Dynasty 漢武帝 (156 BC-87 BC) from Master Donggao’s Musical Notation for Chinese Zither (Donggao qinpu/ Tōkō kinfu), transcribed by Lin Chen, 3’30 6. “Waka” (Four Japanese Waka Songs) from Master Donggao’s Musical Notation for Chinese Zither (Donggao qinpu/ Tōkō kinfu), transcribed by Lin Chen, 5’00       “Fuji 富士,” lyrics by Yamabe no Akahito 山辺赤人 (8th century);       “Yamazato 山裏,” lyrics by Minamoto no Muneyuki Ason 源宗于朝臣 (10th century);       “Yamazakura 山櫻,” lyrics by Gyōson 行尊 (1055-1135);       “Haruno 春野,” lyrics by Emperor Kōkō 光孝天皇 (830-887) 7. “Fenghuang tai shang yi chuixiao”鳳凰臺上憶吹簫 (Nostalgia for Fluting on the Phoenix Terrace), lyrics by Li Qingzhao 李清照 (1084-1155), music from Master Donggao’s Musical Notation for Chinese Zither (Donggao qinpu/ Tōkō kinfu), transcribed by He Yi, adapted by Liu Qing, 4’00 8. “Lingyin si ge” 靈隱寺歌 (Song of Lingyin Temple), lyrics by Ven. Dingyuan/Wang Zhaoguo 定源 (王招國), former Lingyin Temple resident monk, professor at Shanghai Normal University, music composed by Qi Haodi Supported by: Lingyin Temple, Hangzhou, China Lingyin Buddhist Studies Lecture Series, Center for Buddhist Studies, University of Arizona American Culture & Ideas Initiative, Fred Fox School of Music, University of Arizona Poetry Center, College of Humanities, University of Arizona Department of East Asian Studies, College of Humanities, University of Arizona

"Correct Toko Kinpu"東皋琴譜正本 on John Thompson's Website

John Thompson 唐世璋 keeps the most comprehensive English website on the various editions of Chinese Guqin (zither) music, including "Correct Toko Kinpu"東皋琴譜正本.

Article on Master Donggao's Chinese Zither Music 東皋心越之琴道及其自創琴歌研究

 

Master Donggao's 東皋 music notes have been a subject of academic studies since Robert van Gulik discovered him in the 1940s. Prof. Li Meiyan 李美燕 in Taiwan is an expert in this area. I found one of her articles online and there are many more.

李美燕，〈東皋心越之琴道及其自創琴歌研究〉。《藝術評論》，21期，2011年

李美燕，〈高羅佩與東皋琴學—以《明末義僧東皋禪師集刊》與《東皋琴譜》為考察對象〉，《琴學薈萃—第二屆古琴國際學術研討會論文集》。濟南：齊魯書社，2011年。

Hangzhou Local Placenames Handbook 杭州地名簿 (1955)

This Hangzhou placename handbook 杭州地名簿 from the 1950s is going to be very helpful for us to study Hangzhou and georeference religious sites.

The Publication of DAITEN Kenjo's (大典顕常) Ko Unsei kō 小雲栖稿

I am glad to receive a gift copy of the newly annotated anthology of the Edo literary monk Daiten Kenjo's 大典顕常 Ko Unsei kō 小雲栖稿. Daiten (1719-1801) was an important figure in the mid-Edo period and had extensive ties with Obaku monks such as Daichō Genkō 大潮元皓 (1678-1768). He was first ordained as an Obaku monk and later became a Rinzai monk. Thanks to Ms. Liu Jiaxing's work, it has been made available for further studies.

日本.大典顯常<<小雲棲稿>>校注 /

Ri ben.da dian xian chang<<xiao yun qi gao>> jiao zhu /

劉家幸

Jiaxing Liu

佛光大學佛教研究中心近世東亞佛教文獻與研究叢刊 ; 5. 近世東亞佛教叢刊 ; 5

For a Japanese reference, see 

僧門 : 独菴玄光, 売茶翁, 大潮元皓, 大典顕常 /

Sōmon :

Dokuan Genkō, Baisa-ō, Daichō Genkō, Daiten Kenjō /

Author(s):

末木文美士. 堀川貴司.

Sueki, Fumihiko. 

Horikawa, Takashi. 

Publication:

東京 : 岩波書店, 1996.

Tōkyō : Iwanami Shoten.

Add caption

New Article on Donggao Xinyue's 东皋心越 Music Notes 东皋琴谱

I am glad to see this new article on Donggao Xinyue. Here is the abstract and citation.

"In the late seventeenth century, a Chinese Buddhist priest named Donggao Xinyue [phrase omitted] (1639-1695) introduced a selection of qin [phrase omitted] songs (songs accompanied on the qin zither) to Japan. Over the following centuries, Japanese qin players continued to sing these songs in Chinese. This paper looks into this cross-cultural interaction from both Donggao's and the Japanese perspectives, against the historical background of the Ming-Qing dynastic transition and the breakdown of the Sinocentric world order in East Asia. I argue that Donggao and Japanese literati understood the significance of these songs differently as they both connected the songs to their own cultural past. Nonetheless, they were brought together by the shared belief that the performance of qin songs would bridge the past and the present and hence realize their vision of the ideal civilization. Meanwhile, neither Donggao nor the Japanese literati regarded the qin--as well as the ideal society it symbolized--to be exclusively Chinese or Japanese. My analysis shows how the idea of being Chinese/Japanese was intertwined with the changing understandings of the hua-yilka-i [phrase omitted] worldview during this period, and how it was negotiated through the cultural memories that shaped and reshaped the past. This particular case also explains how qin songs as a medium for cultural memory differed from other musical and non-musical forms."

Wu, Zeyuan. "Remembering the Past through Music: The Transmission of Chinese Qin Songs in Seventeenthto Nineteenth-Century Japan." The Journal of the American Oriental Society, vol. 140, no. 2, 2020, p. 345+. Gale Academic OneFile, https://link-gale-com.ezproxy4.library.arizona.edu/apps/doc/A630409904/AONE?u=uarizona_main&sid=AONE&xid=e7908d2c. Accessed 5 Aug. 2020.