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馬維衡

Ma Weiheng

中國(guó)斫琴名家、中國(guó)古琴學(xué)會(huì)副會(huì)長(zhǎng)、南山琴社名譽(yù)社長(zhǎng)、國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)古琴藝術(shù)（廣陵派）代表性傳承人。

Ma Weiheng is a prestigious Chinese luthier, Vice Chairman of China's Academy of Guqin,Honorary President of Nanshan Guqin Club, and a representative inheritor of Guqin (Guangling School),a national intangible cultural heritage and traditional Chinese instrument.

馬維衡說(shuō)，傳統(tǒng)是一條長(zhǎng)河，流到不同的時(shí)代，自然注入不同的河流。

初冬的重慶，寒氣籠罩。沿著重慶工商大學(xué)校園，往南山半山腰深處前行，不久便來(lái)到一處溪流流淌其間、綠樹(shù)清閣落葉的庭院。拾級(jí)而上，忽聞陣陣“胡茄動(dòng)兮邊馬鳴，孤雁歸兮聲嚶嚶”入耳，琴聲委婉悲傷，凄清欲絕。

尋著古琴聲，在南山書(shū)院闟然堂叩門(mén)而進(jìn)，只見(jiàn)這里座無(wú)虛席——重慶南山琴社邀請(qǐng)馬維衡先生，在這里舉辦《曲意禪冬意 云鼓沒(méi)弦琴》活動(dòng)。

一曲鏗鏘的《大胡笳》，馬維衡拉開(kāi)了這場(chǎng)古琴藝術(shù)分享活動(dòng)的序幕。悲壯委婉的曲聲，將蔡文姬十八拍的悲涼婉轉(zhuǎn)演繹得淋漓盡致，馬維衡學(xué)琴、斫琴、傳琴的人生也由此鋪展開(kāi)來(lái)。

Ma Weiheng said, a tradition is like a long river with tributaries merging in through different times.

Chongqing is shrouded in the chill of early winter.When you cross the campus of Chongqing Technology and Business University and go deeper into the woods at the hillside of Nanshan, you will find a neat courtyard with stream tinkling in between. Take steps upward,and you will hear a noted piece of song. The melody of Guqin is mellow, sorrowful and full of emotions.

Follow the melody of Guqin, you will come to Nanshan Academy. Here, Xiran Hall are packed with audience because invited by Chongqing Nanshan Guqin Club, Mr. Ma Weiheng is holding an event here.

Ma Weiheng began the Guqin art event by playing a sonorous song “Da Hu Jia(nomad flute)”. Composed by the history figure Cai Wenji, the song has eighteen chapters, solemn and lingering. In the melody he played,Ma Weiheng expressed to the audience his life of learning to play Guqin, being a luthier and becoming a master.

馬維衡正在制琴

“君子之座，必左琴右書(shū)”

"On the desk of a man of virtue,there must be books and Guqin"

上：馬維衡在古琴伴奏下演唱昆曲《長(zhǎng)生殿·石榴花》

下：馬維衡在重慶三峽博物館和琴友合影

上：馬維衡演奏大胡笳

一首好的琴曲，除了嫻熟的演奏技巧，還要擁有深刻的文化領(lǐng)悟，正所謂“左琴右書(shū)”。

在揚(yáng)州，坊間皆知，馬維衡是有名的“琴癡”。出生于1963年的馬維衡，早年曾拜北方昆曲劇院名家洪雪飛、馬玉森學(xué)習(xí)昆曲；23歲左右開(kāi)始拜師習(xí)琴，先后師從揚(yáng)州“廣陵琴派”琴家胡蘭、胡蔭乾、上海音樂(lè)學(xué)院教授林友仁學(xué)習(xí)古琴，并形成了“厚重沉穩(wěn)、氣韻飽滿”的演奏風(fēng)格；31歲時(shí)，馬維衡成功研制出仿古斷紋琴；45歲時(shí)，他成立建國(guó)以來(lái)?yè)P(yáng)州第一家琴社——南風(fēng)琴社；46歲時(shí)，他成立國(guó)內(nèi)首家古琴專(zhuān)題私人博物館——漢風(fēng)古琴博物館；49歲時(shí)，他成立全國(guó)古琴制作的首家研究所——揚(yáng)州漢風(fēng)古琴制作技術(shù)研究所……

從馬維衡的人生軸線，不難看出他與古琴的淵源。古琴仿佛是他的紅顏知己，一生形影不離。正因?yàn)閷?duì)古琴有著常人難以企及的感情，馬維衡才對(duì)古琴有著深入骨髓的感知，他說(shuō)“左琴右書(shū)”是琴人的“標(biāo)配”。

聆聽(tīng)馬維衡的古琴?gòu)椬?，?tīng)得出他并未拘泥于技巧玩弄，而是著重于古琴傳遞出的內(nèi)在美。馬維衡記得，當(dāng)年為彈好《梅花三弄》，老師領(lǐng)著他去梅花嶺雪中尋梅。說(shuō)來(lái)也神奇，此后演奏，他的琴曲中竟也有了梅之暗香浮動(dòng)、傲雪風(fēng)骨。為掌控“撮”的技法要義，他專(zhuān)門(mén)跑到大明寺去聽(tīng)洪鐘之聲，蒼古雄渾的意蘊(yùn)從琴弦間氤氳而起。

古琴藝術(shù)由技入藝，除彈琴技巧，還要求琴師對(duì)自然、生活有所領(lǐng)悟，如此彈出來(lái)的琴音方能心手相印。這也是馬維衡最深刻的藝術(shù)感悟，他說(shuō)，比如《胡笳十八拍》，難在表現(xiàn)蔡文姬的跌宕內(nèi)心；比如《龍翔操》，對(duì)龍的描繪只能意會(huì)；再比如《逍遙游》，賦予了極深的哲理?？傊瑳](méi)有深厚的文化修為，無(wú)法步入讓琴音由心而出之高妙境界。

“不到名山大川，胸中難有丘壑。”馬維衡在黃山頂上撫琴《山居吟》，一坐就是三四個(gè)時(shí)辰。馬維衡操琴，琴音如擲入湖面的石子蕩出一幅幅絕美的畫(huà)卷：落雁的平沙，陽(yáng)關(guān)的客舍，故人的茅廬，思緒綿長(zhǎng)。《大胡笳》蒼茫凄楚，聽(tīng)者感之而潸然落淚；《神人暢》如江河行地，似日月經(jīng)天，“天人合一”的弦外之音源遠(yuǎn)流長(zhǎng)；《良宵引》，古代文人幽雅、恬淡的生活穿越千古，“濃淡適度，意味深長(zhǎng)”。

It means that to play Guqin well, apart from skillful techniques, one must have profound cultural comprehension.

It is well known in Yangzhou that Ma Weiheng is obsessed with Guqin. Born in 1963, at his early years, Ma Weiheng was apprenticed to the renowned Kunqu masters Hong Xuefei and Ma Yusen of the North Kunqu Opera Theater. Around 23 years of age,he started to play Guqin and learn from Hu Lan and Hu Yinqian, masters of “Guangling School” in Yangzhou, and Lin Youren, professor of Shanghai Conservatory of Music. His playing style is thereby formed and described as “steady and calm with full charm”. At 31, Ma Weiheng created a simulated vintage broken-pattern Guqin. At 45, he established the first Guqin Club of China in Yangzhou——Nanfeng Guqin Club. At 46, he built up China’s first private museum of Guqin——Chinese Guqin Museum. At 49, he set up the first national research institute for Guqin making——Yangzhou Chinese Guqin Making Technique Research Institute.

From his lifeline, we can see his close bonds with Guqin. To him, Guqin seems like a lover who always keeps him company. Out of his keen affection for Guqin, Ma Weiheng’s understanding of Guqin is second to none and he believes cultural comprehension is a must-have for all Guqin players.

When you listen to Ma Weiheng’s Guqin, you will find that he never plays with techniques. His melody carries out the intrinsic beauty of Guqin. Ma Weiheng recalls that in order to play well the “Three Variations On Plum Blossom”, his teacher came him along Meihua Hill where they observed plum blossom in the snow. It is amazing that afterwards in his show, he could convey the spiritual essence of plum blossom in his melody: tenacious and noble. “Pinch”is a unique skill of playing Guqin. To polish his skill,Ma Weiheng paid a visit to Daming Temple where he listened to the heavy chime of the large bell. And likewise, he has infused power into the strings.

In the art of Guqin, artistry surpasses techniques.Therefore, beyond basic techniques, the player must come up with his own epiphany of the nature and life so as to play the melody to the best. It is also Ma Weiheng’s profound epiphany of arts. As he put it, it is hard to present the complex emotions of Cai Wenji in the “Hu Jia Eighteen Chapters”; in the“Flying Dragon”, the depiction of a dragon is tacit;and the “Happy Excursion” entails sophisticated philosophy. After all, without rich cultural accumulation, one can hardly reach a high state of mind or play Guqin from his heart.

As an old saying put it, “only when you have seen the world will you enlarge the world in your mind”. Ma Weiheng would sit for six or even eight hours on the Yellow Mountain to play the “Hymn to the Mountain Household”. When listening to the melody of Ma Weiheng, you will feel like tossing a pebble into the lake and on the ripples, you seem to see a wonderful view as described in a poem that carries you away: seagulls flying above the seashore,an inn by the borderline or a small shed of an old friend.“Da Hu Jia” sounds sad and grievous, making hearers shed tears; “Hymn to God and Man” sounds magnificent and extensive, praising the harmony between God and man; and “Tune for a Peaceful Night” is mild and meaningful, depicting the elegant and tranquil life of ancient scholars.

斫琴技藝，“移步而不換形”

The Artistry of Luthier Is A Change of Techniques but not the form

琴有四善：良質(zhì)，善斫，妙指，正心。

在古琴江湖，素有“南馬北王”之說(shuō)，“北王”說(shuō)的是北京的王鵬，他的琴音色勁而雄。“南馬”自然指的是揚(yáng)州馬維衡，他的琴音色純靜、松透、溫潤(rùn)，“老”味深蘊(yùn)。以古琴演奏厚重風(fēng)格著稱(chēng)的馬維衡，不僅是廣陵琴派的高手，而且精于斫琴，他制作的古琴被譽(yù)為“馬琴”。

在廣陵琴人中，馬維衡是少有的可以在“彈琴”和“斫琴”之間自由切換的高手。身為彈琴人，馬維衡曾經(jīng)最大的心愿是能有一張得心應(yīng)手的好琴，這也是他走上斫琴之路的緣由?！皬椙俚娜藖?lái)制琴，更能達(dá)到古琴的最佳音色?！瘪R維衡說(shuō)，一張古琴，正常情況下，制作周期在一年左右，從選木頭到上弦結(jié)束，“上手”需400多次。

“一個(gè)好的斫琴師，精通音律是基礎(chǔ)，除了在彈琴技藝上有較高的修養(yǎng)，還要有相當(dāng)了得的木工活兒。此外，還得會(huì)漆藝。”為了熟練掌握木工技巧，馬維衡曾向家具師傅虛心請(qǐng)教過(guò)如何使用鋸、刨、鑿、斧；為了學(xué)好油漆工藝，馬維衡還特地向漆器老藝人拜師學(xué)藝。

功夫不負(fù)有心人，1994年，馬維衡首度成功研制出仿古斷紋琴，并以古樸端莊的造型，松透圓潤(rùn)的音色，清晰可辨的斷紋，形成了融樂(lè)器、漆器、材質(zhì)、詩(shī)詞、書(shū)法、印章、篆刻為一體的藝術(shù)品，得到國(guó)內(nèi)外琴家高度評(píng)價(jià)，王世襄先生稱(chēng)其“堪與宋琴媲美”。2002年，馬維衡被中國(guó)樂(lè)器協(xié)會(huì)授予“中國(guó)制琴名師”稱(chēng)號(hào)。如今，馬維衡制琴已有五六百?gòu)垺?/p>

A luthier should bear four virtues: good moral quality, excellent tuning skill, well playing and a pure heart.

In the circle of Guqin, “South Ma and North Wang” are widely acknowledged. “North Wang”refers to Wang Peng in Beijing whose tone is heavy and full of power. “South Ma” refers to Ma Weiheng in Yangzhou. And his tone is pure, mellow and sophisticated. Renowned for his solemn style of playing, Ma Weiheng is not only a Guqin master of Guangling School, but also a skillful luthier. And the Guqin made by him is called “Maqin”.

Of all the players of Guangling School, Ma Weiheng is among the very few that freely switch their identity as a player and a luthier. As a Guqin player, one of Ma Weiheng’s biggest dreams was to have a best Guqin, and that is why he becomes a luthier. “The Guqin made by a player will achieve the best tone. “ Ma Weiheng said, it generally takes about a year to make a Guqin when the luthier has to operate for more than 400 times on the Guqin from choosing the wood to putting up strings.

“ Therefore, a good luthier should first be wellversed in music. Apart from playing skills, he should also be skillful at carpentry. Besides, he should know lacquer art as well. “ To master carpentry, Ma Weiheng humbly consulted a carpenter how to use saw, plane, chisel and ax; and he also got himself apprenticed to a lacquer art master to learn how to properly paint.

His hard work finally paid off. In 1994, Ma Weiheng firstly made the simulated vintage brokenpattern Guqin. By virtue of the simple and elegant shape, mellow tone, distinct broken patterns, it is an artwork combined with multiple elements of art, including instrument, lacquer-ware, texture,poem, calligraphy, signet and seal carving, which is highly acclaimed by both home and abroad. Mr.Wang Shixiang praised and compared it to Songqin. In 2002, Ma Weiheng was honored as “China’s Master Luthier” by China Musical Instrument Association.As of now, Ma Weiheng has made more than five hundred Guqin.

琴社傳承，仍舊“笑傲江湖”

His Legend Continues As Guqin Club Passes the Artistry to the next Generations

彈琴斫琴，可謂相得益彰。而傳琴，承載更多的是一種擔(dān)當(dāng)。

2008年，南風(fēng)琴社成立，這是揚(yáng)州建國(guó)以來(lái)第一家琴社，完全義務(wù)傳承彈奏與斫琴技藝。時(shí)隔一年，他又成立了國(guó)內(nèi)首家古琴專(zhuān)題私人博物館——漢風(fēng)古琴博物館。2012年，馬維衡成立揚(yáng)州漢風(fēng)古琴制作技術(shù)研究所，系全國(guó)古琴制作的首家研究所，聘請(qǐng)大學(xué)教授、故宮博物院專(zhuān)家等擔(dān)任藝術(shù)顧問(wèn)。這是他往深度推廣研究古琴藝術(shù)的種種嘗試。

“50歲之后，我不再斫琴。我還是想把琴?gòu)椇?。”現(xiàn)在，馬維衡幾乎不再制琴了，他把主要的精力都投入到古琴理論研究、創(chuàng)作，以及如何傳承好這門(mén)技藝。

嵇康《琴賦》曰：“眾器之中，琴德最優(yōu)。”馬維衡對(duì)待學(xué)生，一手傳技藝，一手傳道德。在古琴如何發(fā)展這個(gè)問(wèn)題上，馬維衡態(tài)度鮮明，他認(rèn)為還是先解決傳承問(wèn)題，凡是傳承好的，也會(huì)發(fā)展得很好，反之，凡是傳承得不好的，縱然去發(fā)展也是畸形。

2018年5月，馬維衡被確定為第五批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)代表性項(xiàng)目代表性傳承人，他說(shuō)這是廣陵琴派能夠傳承的最好注腳。

Player and luthier bring out the best in each other.And inheritance is more of a responsibility.

In 2008, Nanfeng Guqin Club was established to voluntarily pass on the artistry of Guqin playing and making. A year later, he built up China’s first private museum of Guqin——Chinese Guqin Museum. In 2012, Ma Weiheng set up Yangzhou Chinese Guqin Making Technique Research Institute. It is China’s first research institute for making Guqin. College professors and experts from the Palace Museum are invited as artistic advisors. He intends to further study and promote the art of Guqin, thereby making attempt as aforesaid.

“When I get 50, I will not make Guqin any longer because I prefer playing Guqin.“ Now, Ma Weiheng almost makes no more Guqin and he is engaged in the theoretical study and writing of Guqin,hoping to pass on the artistry to next generations.

Ji Kang wrote in “Ode to Qin”, “Among all the musical instruments, Qin is the best. “ Ma Weiheng imparts not only artistic techniques but also morality to his students. In terms of how to develop Guqin,Ma Weiheng has a clear point of view. He believes the key to development is the inheritance. If properly inherited, Guqin will develop well. Otherwise,if poorly inherited, Guqin will go astray despite promotion.

In May 2018, Ma Weiheng was honored as the representative inheritor of the fifth batch of national intangible cultural heritage. He said it is a best footnote for the inheritance of Guqin-Guangling School.