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全球拍卖首页 > Bonhams HK > 中国古董及乐器 > Lot 43
A fine nanyin 'huaiyun' pipa Qing Dynasty
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
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A fine nanyin 'huaiyun' pipa Qing Dynasty The pear-shaped instrument formed from a black-lacquered fir-wood back plate and an unlacquered wutong wood top plate pierced with two F-holes, the elegantly-angled head followed by a peg box with four jichimu tuning pegs stretching three strings and a silk string over a narrow neck and fourteen tortoiseshell frets, ending with a hongmu tailpiece, the backplate inscribed with two large gilt characters reading huai yun above a red-lacquer seal reading shengwen yutian. 93.5cm (36 3/4in) long. 注脚 清 南音「槐韻」琵琶Provenance:Ke Hsien Sheng (1933-2017), and thence by descent來源：柯賢勝先生（1933-2017）珍藏，後由家人保存至今Ke Hsien Sheng (1933-2017), a native of Jinjiang, Fujian, devoted his life to the study and teaching of Nanguan music (or Nanyin, literally 'Southern Music') under the tutelage of Wu Jingshui (1901-1964), a famous Nanguan master. Ke joined the Nanyin Research Society and learnt pipa, suona and erxian during his time in Peiyuan Middle school. He graduated from Fujian Medical College of Traditional Chinese Medicine (the predecessor of the Fujian University of Traditional Chinese Medicine) and practiced medicine in Nan'an Guanqiao Hospital before moving to Hong Kong in 1978. A habitué of the Fukien Athletic Club, he actively engaged in Nanguan practice and also represented Hong Kong in music exchange performances around the world.柯賢勝（1933–2017），晉江人，一生致力南管研究和傳授，師從晉江南管名家吳敬水先生（1901–1964）。少年時入讀長老會傳教士1904 年創立的泉州培元中學，並參加南音研究社活動，學習琵琶、噯仔（嗩吶）和二弦。柯先生本業中醫師，早年畢業於福建中醫學院（福建中醫藥大學前身），曾於南安官橋醫院執業行醫。1978年移居香港後，積極參加南管活動，周末常到福建體育會彈唱，亦代表香港到世界各地音樂交流演出。The pipa, or Chinese lute, was introduced from Central Asia during the Han dynasty, and gradually evolved within different areas of China since the Tang dynasty. The term 'pipa' describes two original playing motions of the plectrum held in the performer's right hand: pi is 'to play forwards' (towards the left), and pa, 'to play backwards' (towards the right). The pipa was originally held horizontally, and its twisted silk strings were plucked with a large triangular plectrum until the end of the Tang dynasty when musicians began using their fingernails to perform the more exuberant music. To make it easier to use fingers, the instrument began to be held in an upright position which slowly became the beipa (north pipa). However, the concept of early horizontally-held pipa was preserved in Nanyin music. Nevertheless, the triangular plectrum has been replaced by artificial fingernails made of materials such as ivory and tortoiseshell. Nanyin, also Nanguan, literally 'southern pipe' music, is popular in the minnan area (southern Fujian Province) from whence it spread to Taiwan and other Southeast Asian countries. Minnan musicians are tempted to assign the origins of Nanyin music to the Tang and Song dynasties, which to a certain degree can be supported by the the survival of many archaic features, such as the tradition of horizontally held pipa. The music today is seen by academics as primarily part of an amateur tradition with ancient historical roots, that is played both for the musicians' own entertainment and occasionally for ritual practice. Pipa is the leading instrument in Nanyin music, accompanied by pai (wood clapper), erxian (two-stringed fiddle), sanxian (three-stringed lute), and xiao (vertical flute, also called dongxiao). Although a Nanyin pipa preserves some features of types of pipa from the Tang dynasty, its modern form appears to have been finalised no later than the Ming dynasty. Compare with a pipa in the Metropolitan Museum of Art, New York, late 16th/early 17th century, illustrated by J.K.Moore, J.K.Dobney and B.Strauchen-Scherer, Musical Instruments: Highlights of the Metropolitan Museum of Art, New York, 2015, pp.48-49, fig.II. Inscriptions and seals usually found on the backplate endow the instrument with a literary or poetic identity. The name of this pipa, huai yun, could be translated as 'the appeal of scholartree', and the seal shengwen yutiam, may be translated as 'to be heard in the heavens'. Compare with a number of pipas, Qing dynasty, all bearing inscribed names or seals, such as the Xinhua cun pipa in the Chinese Music Academy, the Dieyun Bei pipa in Fujian Provincial Museum and the Yun Lang in a private collection in Quanzhou, all illustrated in Zhongguo yinyue wuwen daxi fujian juan (Compendium of Chinese Musical Instruments: Fujian Province), 1999，pp.113，114 and 117.琵琶曲項，鳳尾優雅後揚，四絃軫雞翅木質，尾嵌螺鈿，四象十品皆以玳瑁質，四象兩側鑲以骨片，窄頸，梨形音響，琴身杉木髹黑漆，面板桐木，雙開鳳眼，琴背陰刻填金漆「槐韻」二字，其下刻「聲聞于天」印。琵琶一名本是「批、把」指法，東漢劉熙《釋名·釋樂器》：「批把本出胡中，馬上所鼓也。推手前曰批，引手卻曰把，象其鼓時，引以為名也。」南管音樂流行於泉州、漳州、福州、廈門及台灣，隨著閩南移民亦傳播至南洋，泉、廈地方，稱之為「南音」，東南亞地區則稱「南樂」。南管演奏時以上四管為主，即簫、二絃、三絃、琵琶、拍，五人順時針而坐，演唱時歌者執拍，以制節拍，為漢代相和歌遺風，樂器取唐宋舊制，乃中國古代音樂的活化石。 南音琵琶唐宋以來形制穩定，惟明清代以降，琴由九品變為十品，由是音域更加廣闊，音樂表現更加豐富。琴背或鑲嵌裝飾，或刻琴名鈐印，豪華素雅皆有所取。美國紐約大都會博物館藏一件明晚期琵琶，鳳尾前曲，其他形制和本件「槐韻」近同，見J. K. Moore等著，《Musical Instruments: Highlights of the Metropolitan Museum of Art》，紐約，2015年, 頁48-49, 圖二.。現存尚能演奏的清代南音琵琶集中於福建，可比較數件福建公私收藏的清代琵琶，如中國音樂學院藏清光緒「杏花村」，泉州私人收藏之「雲朗」，福建博物院藏之「疊韻悲」，見《中國音樂文物大系福建卷》，鄭州，1999年，頁113，114及117。

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