| We, the New York Qin Society, here announce our establishment. Most ancient music has disappeared, and the original sound of the qin is unknown. Although tradition says that the qin has its source in the Yin and Zhou Dynasties, and that qin music has been used for self cultivation since the Spring and Autumn Period, the qin apparently did not achieve its present form until some time during the Han and Jin Dynasties. Much music was created during the Tang and Song Dynasties but most of it gradually vanished. On the other hand, during the 500 years of the Ming Dynasty and Qing dynasties study of the qin flourished, and since the establishment of modern China qin gatherings have become a popular pursuit all over the country. Throughout history, qin players have highly treasured their art form. Their hand copied or printed music scores have passed their music to later generations. One quality of the qin is to befriend nature – springs, rocks, smoke and clouds – or to retreat and hide in the mountains and forests. It remains in harmony with the sounds of nature, or it may allow its performer to express any emotions and ambitions. Beautiful ancient music can thus be appreciated in the company of oneself, just as beautiful flowers require just one to adore them. This refined aesthetic has meant that the transmission of qin music was often limited to a few. But today, in China, there are numerous qin societies established everywhere. Many cultured people have made it popular as they expressed their ambition to disseminate qin culture more widely. One sees this through the many recently published qin scores as well as through sound and video recordings. Awareness of the qin is growing, and the number of people studying it is also increasing. Throughout the history of the qin it has never been more popular. We admire and treasure the essences of Chinese heritage. Residing away from its source, and regardless of ethnicity, we seek to center ourselves in the Way of the qin, at the same time putting focus on the arts and humanities. We adopt the qin tradition in this new geographical area and do research into similarities and differences between the West and China. We seek the voice of friendship with those whom we have not yet met, hoping to make the acquaintance of those with whom we share a similar frame of mind. We have stretched our strings and tuned our pegs for over two years. The outcome of the spring harvest cannot be foreseen, but it is now time to plow hard. Although we are ten thousand miles away from its spiritual heartland (Shenzhou) we feel we can still achieve our goals. Seeking pure music with elegant modality, we pick up once more the treasured music of antiquity. We take pride in trying to stand together with those who are better established and more qualified. We endeavor to raise our level to that of the correct spirit. Even when we have “no strings under our fingers”, we understand the joy of the qin. Today’s sounds and those of the ancients have gone on different paths, but eventually they culminate at one point. The Chinese and the West, though two different realms, are harmonized at the core. For everyone who feels the same as we do, we will pick a flower, light incense and make a wish. These are our words. We are grateful for your encouragement and appreciation. Alan J. Berkowitz, Peiyou Chang, Stephen Dydo, Matthew Flannery, Holly Grinnell, Bunching Lam, Bo Lawergren, John Thompson, Marilyn Wong-Gleysteen, Mingmei Yip, Jung-Ping Yuan October 15, 2002 創社之啟 紐約琴社既立 謹以所懷 告海內外諸大雅 古樂文明湮泯 琴道元音不復久已 自殷周有琴器之濫觴 春秋以降 琴音修養 是為傳統 漢晉之間 琴器漸變 唐宋前後 琴樂漸失 由明四百年來至清 琴學轉盛 民國一時 四方琴會集興風流 歷代先賢莫不珍其所傳 或書於素 或刊於譜 以傳後世 琴性本好與泉石煙霞為友 或退藏山林修真 發天籟 宣情志 古調獨彈 孤芳自賞 傳琴者遂不廣 今海內有琴社分立於各地 諸賢維揚雅志 琴譜刊新 知音有人 學者日增 琴道昌盛 莫過於斯 吾等慕懷中華文明之精粹 寓於海外 無分種族 以琴道為宗 人文藝術為輔 寄傳統於新地 探中西所異同 招隱同顯 求其友聲 張絃調軫 已越二年 春實難測 得時所耘 雖離神州萬里 願得琴心如一 尋清商逸調 拾古樂遺音 不嫌濫竽於群倫 猶得附庸於正始 指下無絃 但識琴中之趣 今聲古樂 殊途同歸 中西兩地 以心相印 凡我同人 瓣香祝之 是為斯言 蒙賞嘉惠 柏士隱 張培幼 戴德 方爾義 葛一能 海蔚藍 郭旭達 勞鎛 唐世璋 王妙蓮 葉明媚 袁中平 載拜 西元兩千零二年十月二十五日 |