A Discussion of the History of the Gu Zheng

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A Discussion of the History of the Gu zhengAuthor(s): Cao Zheng and Yohana KnoblochSource: Asian Music, Vol. 14, No. 2, Chinese Music History (1983), pp. 1-16Published by: University of Texas PressStable URL: http://www.jstor.org/stable/833935

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A DISCUSSION OF THE HISTORY OF THE GU ZHENG

ByCao Zheng*

Translated byYohana Knobloch

In order to research the Gu zheng, China's ancient

plucked musical instrument, one must closely studyreferences to it not only in descriptive, authentichistorical records and in works of classical art and

literature, but also look into folk stories, legends,unofficial writings and anecdotes, because these sourcesreflect the subjective perceptions at various historical

periods; from their different viewpoints, they keep onefrom bias, or from reaching hasty conclusions concerningthe Gu zheng's history.

The Gu zheng represents a genuine folk musical art.During the feudal era which gave precedence to eleganceover popularity, the zheng was slandered by the literati,which did the instrument harm and resulted in its being,at times, insufficiently or incorrectly recorded. Today,with society's development and the progress of mankind,there arises a need to approach history with a new under-

standing, and we must use the scientific attitude of

seeking truth from facts in order to correctly look atand expound upon the true history of this instrument.

In order to study the history of the Gu zheng, one

must take the conditions of social development as a basis.One must look at contemporary popular instruments,performance techniques, old musical scores, the develop-ment of instruments in combination with historical

references, stories and fables concerning the Gu zheng.By considering carefully all these different aspects,through dialectical deliberation, we will be able toobtain a correct view on this ancient folk music heritageand thus develop even further the art of the Gu zheng.

*This article was originally published in China Music 3

(Beijing, 1981). The author's original footnotes, inChinese only, have been left as is due to the problem of

tracking down his sources to arrive at a romanized,accurate version. Translator's notes are given as "Y.K."

Tong Kin-woon has edited the manuscript and clarifiedsome points.

1



The Name "Gu Zheng"

The word zheng is derived from the sound of theinstrument. Liu Xi of the later Han dynasty in his Shi

Mingl (a dictionary of the second century--Y.K.) wrote:"The strings were tightly strung and create the sound

'zheng-zheng' [when played]."Li

Qiao2of the

Tangdynasty, in an ode to the zheng, wrote: "I don't want tohear Xi Qin play; zheng-zheng leaves a feeling of sorrow."This kind of derivation of names from the sound of theinstrument was used by people ixqancient times in namingother instruments - the Qing ( ) Qin (1 ), Hu Hu

(o t), etc., in accordance with the historical situationsand conforming with the way people used to view things.

Why is the zheng also referred to as "the music of

Qin," (The State of Qin [present Shenxi]--Y.K.), Qin

zheng as well as Gu zheng? The gifted scholar of the

latter Han dynasty, Cao Zijian of the Jian An period inhis Kong Hou Fu3 wrote: "Why is the zheng of Qin so

fervent, the se of Qi so gentle and soft?" Numerous otherclassical references include the Tang dynasty poet WangWan4, who wrote: "In an empty room there is a Qin zheng,"and Zheng Jiuling's5 lines: "When things are at their

worst, why shall I play the Qin Zheng?" Cen Can in hisQin zheng song6 wrote: "Haven't you heard? The musicof the Qin zheng is the most bitter." Bai Juyi in his

poem "Zheng"7 compares the sound of the Qin zheng withother instruments, "clear like the se of Zhao, unlikethe racket of the hu qin." (Pipa--Y.K.) In these poetic

references, the terms qin zheng, qi se, zhao se and huqin, in addition to being used in contrast with eachother and serving to provide poetic antithesis, more

importantly indicate the locality where these instrumentswere popular. The characters preceding the names ofthese instruments refer to the locality of origin, notthe dynastic period. As to the modern preference for

adding the word gu ( 3 , "ancient"), this is not wrong,since it only stresses the zheng's age-old history.

The reference to "music of Qin" comes from SimaQian's Shi Ji8 which records Li Si's (d. 208 B.C.--Y.K.)

admonition to the emperor concerning the banishing offoreigners, "Playing the zheng, slapping one's thighsand singing a song pleasing to the ear - that is the truemusic of Qin." Over the past several years, it has been

erroneously thought that the traditional Qin zheng artwas lost in Shenxi, but this is incorrect. In the "YuLin Song book,"9 from the Yu Lin district of Shenxi

Province, the Gu zheng is used as accompaniment throughout,and this is undoubtedly a remnant of the Qin zheng, this

2





However, Chen Luqiong in his poem "Xuan Pu Yan Ge Yong YiWu De Zheng"13 describes the zheng as being the result of

reducing the strings of the se. Moreover, Zhao Lin of the

Tang dynasty in his "Yin Hua Lu"14 carries the legendfurther; "The people of Qin played the se; two brothers

fought over it and broke it into two halves, and fromthis

origincomes the name

zheng."This kind of

storydoes

not stop with the tale of the two brothers. Another source

says: "The Customs of Qin were so vulgar that a fatherand son fought over a se" (See Ji Yun)lS. There is another

story: "In Qin there was a person called Wan Wuyi who

gave a se to his two daughters. They fought over it andbroke it into two instruments, which explains the name

zheng" (referring to the phonetic indicator - -

meaning struggle--Y.K.). "Two sisters of Qin fought overa se, broke it into two halves, the elder taking one

having thirteen strings, the younger taking the one withtwelve strings. The Qin emperor marveled at it and namedthe two

instruments zheng" (see Yue Dao Lei Ji)16.After the Qin zheng was introduced to Japan, the legendswere included in the histories of the Japanese koto.It was deduced that Emperor Qin Shihuang's two concubinesdivided the twenty-five string se into thirteen-stringand twelve-string zhengs, the thirteen-string zheng beingintroduced to Japan and the twelve-string zheng to Korea(see Nakajima Garaku)17. The above mentioned legends,

advocating the theory that the zheng and se have thesame origin, stress the two words Qin and zheng. In

referring to "a man of Qin played se," "the customs of

Qin were vulgar", "in Qin there was a person called Wan

Wuyi", "two sisters of Qin..." "Qin Shihuang's concubines..."etc., Qin refers to the time and place. It describes the

kingdom of Qin of the Warring States period, and this isthe basis for the description of the zheng as the Qin zheng.The word zheng has been given different explanations. Oneis given in Xu Shen's Shuo Wen Jie Zi18: "Zheng, thesound of plucking strings on bamboo, the 'zheng' soundfrom bamboo." Further we read in the Feng Su Tong Yi19(Second century source), "body like that of the five

string zhu, ... the shape of the zheng is like that of these." In the Ji Yun it says: "... named zheng, in ancienttimes made of bamboo." Zhu Zunsheng20 of the Qing dynasty,

in his Shuo Wen Tong Yun Ding Sheng explains: "The Guzheng had five strings, a bamboo body like that of the zhu.Meng Tian21 of the Qin Dynasty increased the number of

strings to twelve and altered the shape of the zheng tothat of the se, using wood instead of bamboo. After the

Tang dynasty, the thirteenth string was added." Theseviews all stem from the fact that the character zheng( X ) is composed of the bamboo radical (k T ) and the

phonetic "zheng" ( - ). Another explanation of the word

zheng is based on the phonetic, itself, zheng ( ~ ),

4



meaning to vie, struggle, obtain by force (i.e. as wasthe case in splitting the se and related stories.) This

gives rise to the opinion that the zheng was a vulgarinstrument without merit, as contrasted with the view ofFu Xuan of the Jin dynasty, who praised the zheng as an"instrument of benevolence and wisdom." One result of

the belittlement of the zheng was that this instrument,played and praised by Ruan Yu of the Wei Dynasty as"leader of other instruments," was denigrated for amillenium. Up to the present day, there are unfortunatelystill scholars writing books on Chinese music historywho are influenced by the view which looked down on theinstrument.

Advocating the theory of the historical coexistence of the

zheng and the se

The theory that the zheng and the se have the same

origin is not completely unfounded. Certain aspects ofthe two instruments' appearance and construction aresimilar. In fact, the zheng and the se (as well as thezhu) existed at the same time, not only in the state ofQin during the Warring States period, but also in the Stateof Qi (now Shandong province.) In the Records of Qi23from the Warring States Period, it says: "The people inLin Zi are prosperous. They blow the yu24 and play these, zhu25 and zheng..." The famous story of the meetingof the Qin and Zhao kings at Mian Chi26, mentions that"The king of Zhao played the se for the king of Qin, the

king of Qin played the fou for the king of Zhao." Li Si,

in his decree to the Qin Shihuang emperor concerning thebanishment of foreigners, questions the emperor's attitudetowards "The true music of Qin" and "foreign music." Hesays: "Beating the earthen jar, and clay drum, pluckingthe zheng, slapping one's thighs, and singing songs,pleasing to the ear and eye is the true music of Qin.The folk music of Zheng and Wei, and the pieces calledShao Yu and Wu Xiang, are music of other countries. Now

why do you prefer the sound of Weng (earthen jar) of thestates of Zheng and Wei, and reject the sound of the zheng?"This is the earliest reference in the history of the guzheng, and is an important basis both in China and abroad

for studying zheng history. When speaking of the gu zhengof Qin, we must clarify whether reference is made to theQin Dynasty after the unification of China by QinShihuang (221-206 B.C.--Y.K.) or whether the zheng had beenpopular a long time in the state of Qin during the Springand Autumn and Warring States periods (475-221 B.C.--Y.K.).Basing our theory on the above-mentioned records, Li Sireiterated several times that "Beating the earthen jar,and clay drum, plucking the zheng and slapping one's thighs..."

5



is the authentic music of the state of Qin, and calls itthe "True music of Qin" as opposed to the so-called

"Foreign music" of the folk music of Zheng and Wei and

the classical music called shao yu and wu xiang. Thiswould indicate that the gu zheng was popular before theunification of China by Qin Shihuang, even before the

Spring and Autumn Warring States periods, in the statesof Qi, Lu, Zheng, Wei and so on. When Confucius, in thestate of Qi, heard the music of shao, he was so moved "hedid not taste meat for three months." Confucius alsocriticized the profligacy of the states of Zheng and Weias being "lewd and (overflowing with) wanton elegance."The fact that the situation at the end of the WarringStates period helped Qin Shihuang's Minister, Li Si,unite China is very clear, as Li's views were directedat the Emperor's differing views towards foreign musicas opposed to foreign officials (such as Li Si himself)and ultimately resulted in the emperor rescinding the

decree banishing foreigners and in the rehabilitation ofLi Si. Since the foreign music at the time already had a

long history, the same must be true for the "true musicof Qin." If we take this position towards the historyof the zheng, then the legends about dividing the se tomake zheng and about Meng Tian creating the zheng arewithout basis.

The zheng and se existed not only at the same time

(for example during the Warring States Period) but alsoin the same place. In addition to references in therecords of the Warring States Period and the State of Qi

as well as allusions to "a man of Qin played se" etc.,the se of Zhao is referred to at the "meeting at MianChi where the king of Qin ordered the king of Zhao to

play the se" and this was also recorded in later records.But did the zheng exist in the state of Zhao? In the "GuJin Zhu"28 it is recorded: "In Han Dan a Qin girl namedLuo Fu was picking mulberries by the path. The king ofZhao saw her and wanted to seize her. Luo Fu saved herself

by playing a song on the zheng called 'Mulberries on thePath'."29 This story is historically referred to as "LuoFu of Qin who was adept at the Qin zheng" and which

eventually was penned by the Tang poet Li Bai as

"Passionately playing on the se the song 'Mulberries onthe Path'." In describing the se being used to play a

zheng song, this provides further evidence that the zhengand se existed at the same time in the state of Zhao.

In the Han dynasty there existed another ancient

instrument, the kong-hou which existed alongside the seand zheng as an ancient plucked instrument. Cao Zijianin his poem, "Kong Hou," compares the zheng with the se

6



saying: "Why is the Qin zheng so fervent, the Qi se so

gentle," suggesting that the kong hou possesses the

qualities of both instruments, being fervent and gentle.In addition, in his poem, "Yuan Hui,"30 he says: "The

sheng and qing are already set up, the zheng and se are

strung." This is what gave the Ming dynasty crown

princeZhu

Zaiyuin his se notation book (Se Pu31) the

basis for his advocacy of the theory that tHe three

instruments zheng, kong hou and se have the same origin.

There was also the stringed instrument zhu32, and

to what period did it belong? The earliest record is

found in the Shi Ji, 3 in which the zhu is mentioned

being used as a murder weapon in the assassination of

Emperor Qin Shihuang by Gao Jianei,34 an adept playerof the zhu. Undoubtedly, then, this instrument coexisted

with the zheng in the Qin dynasty after the unificationof China by Qin Shihuang. Concerning the zhu, the Ping

Zhu Shi Ji Qing Hua Lu 5 explains: "Shaped like the qin,it has strings which are struck by bamboo, and that is

how it acquired its name." (The bamboo radical zhu (k )is prominent in the character for zhu (ft ).) This kind

of explanation is in accord with the history and develop-ment of musical instruments. One thinks of China's

ancient music instrument makers who, for centuries,

according to their desires, could select whatever materialto design and build a hollowed-out resonant zheng or se.

Why then choose a material such as bamboo, which is hardand difficult to mold, rather than wood which is softer

and can be selected according to the required width?

Therefore the phrase "struck by bamboo and that is howit acquired its name" is in fact quite correct in

explaining the name for the Zhu.2

The above mentioned literary and historical records

are supported by substantial material evidence. For

example, the caves at the Yun Gang Cae,36 which accordingto textual records were begun during the Northern Wei

dynasty and the Dun Huang Caves,37 begun during the Sui

and Tang dynasties, portray several orchestras playingthe zheng and se, but of course these records are almosta thousand years later than the Qin and Han dynasties.

A number of historical facts give us ample evidencethat the zheng and se existed at the same time. Why then

up to the present day have a great number of archaeologicalfinds unearthed the se, zhu and qin, but not the

zheng? In fact it is not difficult to explain. The feudalrulers of China from the time of Qin Shihuang (taking their

rejection of playing the zheng and preference for the musicof Shao and Yu as evidence for this argument) had a

7



particular attitude towards folk art which preferred theart itself (of course for entertainment) to the dignityof the musician. In distinguishing the two types ofmusic (folk and court music), they undoubtedly preferredthe latter. Therefore, the elegant court music, "thebells and drums, qin and se,' was fostered by the gentryto the extent that "no scholar should remove the

Qin andSe [from his study room] without a reason." These feudal

lords, while living, wanted to maintain the fortune of ahundred officials and when dead still enjoy the "splendorof the temple." After they died they buried withtheir favorite instruments, among which the Se andQin were excavated but, for the above reason, no zheng.Furthermore, folk artists were politically repressed andunder conditions of hardship, attempting to eke out a

living from their beloved music; they would, with effort,

buy or build a zheng, but could ill afford to be buriedwith the instrument so that the zheng might eventually be

dug up as archaeological finds.

Material evidence that the gu zheng was a popular folkinstrument

In ancient history, the gu zheng was always spreadamong the people, evidence for which lies in the fact that

poets wrote poems and odes describing zheng players, zhengart, zheng tunes and songs as well as stories about the

zheng, and so on. All of this is strong evidence thatit was a folk art.

There are also a great number of zheng notationbooks, from different parts of the country with differentflavors and styles of playing, like those passed on in thedistricts of present day Chaozhou and Zhang (present dayShanxi--Y.K.), where before the Tang and Song dynastiesa notation system called "two four" had been developed.In the area around Mei county and Da Bo (in GuangdongProvince) they used the gongchipu system; also in ShandongProvince, they used a system called Da ban hua gongchipu.All these different kinds of zheng notation have neverbeen officially published, and have depended on enthusiastsfor their propagation. This way the tradition was handed

down to the present day and became a valuable record ofancient musical art. The art of the gu zheng, from thetime of the Qin Dynasty through to the Qing dynasty, overtwo thousand years of history, has been continuallyevolving and developing. Many of the classical songs have

preserved their vitality; the majority are popular amongthe people, and provide an important point of referencefor studying national folk music. Zheng tunes that are

popular among the people are widely spread all over China,

8



their content being rich, with which other folk instruments

cannot compare. More important still is that it has its

own system of notation, corpus of songs, and musical form

and structure which, in combination with the particularcharacteristics of the structure of the instrument, havecreated a unique performing technique. Before the Han

dynasty,when the instrument was described as dull and

inflexible, until the heavenly "New Sound" of the later

Han dynasty; from Liang Yutai's "Crowded Notes Move LightlyThrough the Pillars, Hands Pass Madly over the Strings" toBai Juyi's "A Pearl Smashed into a Thousand Pieces, the

Thud of a Falling Knife," the gu zheng, in its artisticcreation and development, has a history which can be

examined, with varied influences. Therefore, during therich Tang dynasty, the zheng was welcomed by the masseswho wanted to "ride a horse and hear strumming on the zheng."After the Tang and Song dynasties up to the present day,each dynasty has been noted for its new sounds. In

particular in the New China, after liberation, there havebeen great successes in the development of gu zheng art,not only in the creation of new songs but also in the

performance, technique and improvement of the instrument

itself.

Continuing the tradition and introducing new Gu Zheng Art

In the early 1920s and 1930s Beijing had two

propagators of zheng art. One was Mr. Lin Yongzhi 8from Jie Yang in Guangdong province, who enthusiasticallydeveloped the Chao Zhou style of Gu zheng art. The other

was Mr. Wei Ziyou39, from Zhu Pin in Henan Province, whopioneered and promoted the style of Zhong Zhou. At thetime stgdying Henan style from Mr. Wei was Mr. Liang

Zaiping of Gao Yang, and Mr. Lou Shuhua 1 of Su Xian

(.now part of Yu Tian) and Zhou Xiwen42 of Ru Hua. Also

there was Mr. Shi Yinmei43 of Jiang Du, who was a musiceducator. All these people made great contributions to

the field of performance, education and theory of nationalmusic. They fostered the dying art of the zheng, not

only preserving it but also developing its greatness.Mr. Liang Zai Ping, a classmate of Mr. Lou Shuhua, at thetime he was studying the ancient style of Zhong Zhou with

Mr. Wei Ziyou, also studied Chaozhou and Hakka stylesfrom Mr. Shi Yin-mei. From then on Mr. Lou and Mr. Liangbecame good friends in the world of gu zheng art. Theybecame the representatives of the two main zheng styles,the northern and southern respectively. The famoussouthern style song "Han ya xi shui"4 and "Dao yi"45were played by Mr. Liang Zaiping and recorded by the BaiDai record company, and the famous northern style songs

9



"Tian xia da tong"46 and "Guan ju"47 were played by Mr.Lou Shuhua. At the same time, Mr. Liang Zaiping publishedthe first official book on zheng history Ni

zheng pu 48, while Mr. Lou Shuhua rearranged and creatednew zheng songs. Mr. Lou's "Yu zhou chang wan"49

('Fisherman's Evening Song"), his representative work, has

enjoyed over forty years of popularity and is noted forits ease in learning but difficulty to actually play well,as well as being a blending of elegance and simplicity.It continues the tradition while being an innovativeclassical style piece.

Mr. Liang Zaiping, while studying in the UnitedStates at Yale University, carried along his qin and zheng,introducing our country's qin and zheng art to Americanfriends.

In the last thirty years, since the establishment

of the People's Republic, there has been unceasing develop-ment in the art of the zheng, be it in the field of

education, performance practice or composition. Shortlyafter LuxLn Art Institute of Dong Bei (present ShenyangMusic Institute--Y.K.) began offering zheng courses as a

specialty subject in 1950, many other institutes startedto teach the zheng as a regular course. The InternationalYouth festival featured songs such as "Chun tian lai le"50with a trio of two zhengs and gaohu (Chinese violin)

winning a gold medal with "Yu zhou chang wan" (a duet with

zheng and gaohu) winning a silver medal. In addition,Chinese performing troupes have been introducing and

propagating the zheng art in many different countries,making international friends and receiving world-wideacclaim.

In order to continue the tradition, several schools

(including performers) have in the past thirty yearsanalyzed and compiled systematic anthologies of traditional

zheng songs, as well as creating a number of new

compositions. The latter include songs such as "Qing fengnian" by Zhao Yuzhai51, "Xing fu gu" by Ren Qingzhi52,"Zhan tai feng" by Wang Changyuan53, "Qing jiang fang pai"by Ding Poling54, "Feng shou luo gu" by Li Zuji55, "Chun

dao la sa" by Shi Taoyuan56 "Xiu jin bian" by Zhou Yanjia57,"Da du he" by LU Diansheng58 and others, too numerous tomention. Several of the modern compositions show the

spirit of experimentation with new as well as traditionalelements. For example the relatively simple traditionaltwo-hand plucking technique (according to Wulin Zhengtechnique both hands were used in plucking the strings asis the case in "Jiang jun ling") becomes intricate and

10



complex in Zhao Yuzhai's "Qing feng nian". Many of thenew young talents have competed in utilizing left-hand

plucking techniques, and in this way they have enrichedthe traditional art of the zheng.

New performing techniques brought about the needfor

instrumental innovations.After the

establishmentof the People's Republic, zheng teachers, students andinstrument makers formed an experimental group at the

Shenyang Music Institute, the birthplace of the zhengart revival, aiming to improve the ancient zheng. Twodrafts for instruments with mechanical tuning changewere drawn. One kind was based on the length of the

strings, the other on the tension of the strings.

By the early 1960s, two instruments withmechanical tuning switches were built. The Shenyanggroup continued to work on some remaining problems. It

is only now, twenty years later, that we have arelatively successful outcome, an instrument where a foot

pedal is used for tuning.

After the zheng innovations made by the ShenyangInstitute, several other places started working on

improving the zheng. These were music instrument

factories in Yingkou, Shenyang, Suzhou and Sichuan. Inaddition school units 6ike the Xi An Music Instituteheaded by Zhou Yanjia , and the Shanghai Music Instituteheaded by He Baoquan61 (formerly at Tianjin Music

Institute), music specialists like Chen An Hua62 and

Shantou music factory each in varying degrees gainedexperience and yielded good results. Now there aresuccessful tension-tuning alteration zhengs produced bythe Dongbei Music Instruments Company, a "Butterflystyle" zheng designed by He Baoquan from the ShanghaiMusic Institute, and the "Qiao ma" zheng from ShenyangMusic Institute. All these achievements contribute tothe flourishing and progress in the art of the zheng.

FOOTNOTES

1. There were several kinds of Kong Hou, including aChinese instrument of the Han Dynasty with 6 stringsand fixed frets, and a harp-like vertical instrument

imported into China before the 7th century A.D.(note by Tong Kin-woon)

11



2. The above passage is given here in Tong Kin-woon's

adaptation. The translator understands the passagethis way: "the zhu contains the bamboo radicalin its name not because it was made by bamboo, butrather because it was struck with bamboo sticks."

Professor Cao Zheng is presently professor emeritus atthe Chinese Music Conservatory in Peking and the headof the Zheng Study Society.

Born in Xin Min County (Liaoning Province), in his youthhe studied with Master Lou Shuhua, continuing the revivalof the traditional art of the zheng.

For the past several decades he has been a prominentChinese ethnomusicologist compiling and arranging folk

songs for the zheng, zheng virtuoso, researcher, teacheras well as an indefatigable propagator of traditionalChinese music.

12



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16

Documents

A Discussion of the History of the Gu Zheng