Qinse Hepu (The Collected Manuscripts of the Qin and the Se)

Qinse Hepu was written by Qing Rui during the latter part of his life. It is a collection of qin and se manuscripts comprising two volumes. Eight qin and se ensembles are included in the book, namely Liangxiao Yin (Tune for a Pleasant Evening), Yuqiao Wenda (Dialogue between a Fisherman and a Woodcutter), Pingsha Luoyan (Wild Geese Landing on Sand), Wuye Wu Qiufeng (Parasol Leaves Dancing in the Autumnal Breeze), Cunxiao Yin (Tune for a Spring Dawn), Dongting Qiusi (Autumn Thoughts at Dongting), Shitan Zhang (Stanzas of Siddham), Saishang Hong (Wild Geese on the Frontier). The fingering techniques for the qin and se are displayed side by side on the manuscripts: the right dedicated to those of the se and the left, the qin.
This volume was inscribed for publishing in Guangzhou in the 9th year of the Tongzhi reign (1870) and subsequently published for circulation in the 12th year of the Tongzhi reign (1873). By the 1930s and 1940s, during the time of the Japanese invasion, the Yungs were anxious that the Japanese army would mistake the tablature as coded messages. They therefore destroyed the print blocks of the books, rendering their reprint impossible. Except for the one and only copy of Qinse Hepu handed down in the Yung family, Hong Kong’s qin musicians rarely had the opportunity to read this manuscript before the middle of the last century.

<i>Qinse Hepu</i> (<i>The Collected Manuscripts of the Qin and the Se</i>) <i>Qinse Hepu</i> was written by Qing Rui during the latter part of his life. It is a collection of <i>qin</i> and <i>se</i> manuscripts comprising two volumes. Eight <i>qin</i> and <i>se</i> ensembles are included in the book, namely <i>Liangxiao Yin</i> (<i>Tune for a Pleasant Evening</i>), <i>Yuqiao Wenda</i> (<i>Dialogue between a Fisherman and a Woodcutter</i>), <i>Pingsha Luoyan</i> (<i>Wild Geese Landing on Sand</i>), <i>Wuye Wu Qiufeng</i> (<i>Parasol Leaves Dancing in the Autumnal Breeze</i>), <i>Cunxiao Yin</i> (<i>Tune for a Spring Dawn</i>), <i>Dongting Qiusi</i> (<i>Autumn Thoughts at Dongting</i>), <i>Shitan Zhang</i> (<i>Stanzas of Siddham</i>), <i>Saishang Hong</i> (<i>Wild Geese on the Frontier</i>). The fingering techniques for the <i>qin</i> and <i>se</i> are displayed side by side on the manuscripts: the right dedicated to those of the <i>se</i> and the left, the <i>qin</i>.<br/>This volume was inscribed for publishing in Guangzhou in the 9th year of the Tongzhi reign (1870) and subsequently published for circulation in the 12th year of the Tongzhi reign (1873). By the 1930s and 1940s, during the time of the Japanese invasion, the Yungs were anxious that the Japanese army would mistake the tablature as coded messages. They therefore destroyed the print blocks of the books, rendering their reprint impossible. Except for the one and only copy of <i>Qinse Hepu</i> handed down in the Yung family, Hong Kong’s <i>qin</i> musicians rarely had the opportunity to read this manuscript before the middle of the last century. Share