"Musings by Wen Yuan: Understanding Music and Violin through Yishuikong一水空"
It is a great honor that Wen wrote a recommendation for Yishuikong on the English site! Endorsements - Yi Shui Kong
We can't post the entire text from Wen on our website, so I'll share the full text here.
"Musings by Wen Yuan: Understanding Music and Violin through Yishuikong一水空"
Four years ago, I had the privilege of meeting Ms. Lin Yang, the fifth-generation inheritor of Baguazhang. In the same calligraphy and painting class, we discussed Yishuikong, a creation of Lin Yang, which piqued my interest, leading me to join the Yishuikong course.
My first impression was immediately captivated by the graceful movements of Yishuikong, reminiscent of classical Chinese dance, reminiscent of classical Chinese dance. Sometimes it exuded the robustness of martial arts, while other times it flowed like Tai Chi. Since then, whenever I see clouds in the sky or leaves drifting in the wind, it always inspires me to perform a few Yishuikong movements, dancing along!
Throughout the learning process of Yishuikong, I deeply felt the concept of "initiation, development, transformation, and conclusion" in traditional Chinese culture. The beginning of preparing for a movement represents "initiation," while the stretching and extension of the movement represent "development" and "transformation." The conclusion of the movement embodies "conclusion." This helps us better understand the structure and rhythm of Chinese music. The concept of "initiation, development, transformation, and conclusion" also exists in Western music: the initiation introduces the theme, development is the elaboration, transformation represents the modulation within the music, and conclusion brings the music back to the theme. In this aspect, Yishuikong and traditional Chinese artistic concepts aid musicians in understanding the structure and form of Western music.
Yishuikong evokes many similarities with violin technique, one of which is the implicit training of elastic force. This elasticity is ubiquitous in life, whether in the brushstrokes of Chinese calligraphy, the flexibility of dancers and gymnasts, or the fingers of violinists needing both elasticity and strength to produce high-quality tones. To achieve this elasticity, one must first "accumulate strength." The practice of Yishuikong movements has made me more aware of this detail. Similarly, in violin playing, the bow can also accumulate strength, allowing for a reapplication of force during bowing and maintaining a sustained breath. This "accumulation of strength" is very helpful for expressing oneself in long phrases and sentences in Western music, while also providing a brief respite for the muscles.
Yishuikong movements are inseparable from breathing, reminding me of the emphasis on "breath" in Chinese music and calligraphy. In Chinese culture, "qi" (breath) is an important concept. Yishuikong movements are accompanied by slow and natural breathing, reminding musicians not to neglect breathing and relaxation. Employing the basic posture of Yishuikong during performance—relaxed knees, not tensed, slightly leaning the lower body backward, and placing the center of gravity on the central axis—makes relaxation easier. In Western music, the structure often consists of long phrases, known as "seamless," requiring sustained breath. Practicing Yishuikong's method of maintaining long breaths before playing the violin can help slow down breathing, making it easier to handle.
Over these years, I have consistently performed some Yishuikong movements before every violin practice session. Not only does it serve as a warm-up and help maintain good breath, but it also significantly aids in many details of violin playing!
The above is a recommendation in English sent by Wen.
Wen Yuan has been a dear friend of mine, always showing profound understanding and making discussions about the common ground in art truly enjoyable! I always feel proud to have you as a friend!
以下是中文原文：
《文沅老师谈： 通过 一水空 ，体会音乐和小提琴》
四年前，我有幸遇见了八卦掌第五代传人林阳女士。在同一个书画班学习中，我们谈到了林阳创编的一水空，我很感兴趣，就参加了“一水空”的课程。
第一印象，我被“一水空”优美的动作所吸引，让我想到了中国的古典舞。有时像武术的刚健，有时像太极拳的行云流水。从此以后，当我看到空中的云，风中飘逸的叶子，总是让我想要做“一水空”的几个动作，舞起来！
在学习“一水空 ”过程中，我深深感受到了中国传统文化的“起承转合”这个概念。开始准备动作的“起”，动作的舒展和延伸是“承”和“转”，动作结尾处是“合”。
这可以帮助我们更加理解中国音乐的结构与气息。在西方音乐中也有“起承转合”的存在：音乐的“起”是主题的引入，“承”是发展部分，“转”是音乐中调性的变化，“合”是音乐回归主题的部分。
这一点上，一水空和中国的传统艺术概念有助于音乐家们理解西方音乐的结构和形式。
“一水空”使我联想到小提琴技术上的许多相同之处，其中一点是“一水空”潜移默化的 弹性力量训练。
这种弹性在生活中处处可见，中国书画的毛笔中的弹性，舞蹈家和体操健将脚下的弹性。在小提琴上的右手和左手手指也需要有弹性与力量，有了才能拉出来高质量的音色。
若想有弹性力，前提是先 “蓄力”。一水空的动作练习使我更加充分注意到了 这个细节。同样在小提琴演奏中弓子也可采用“蓄力”，在运弓过程中能够重新发力并且保持住自己的长气息。这种“蓄力”对在西方音乐长线条和大句子中的表达力非常有帮助，同时又使得左右肌肉得到了一点喘息的机会。
“一水空”的动作离不开呼吸，使我想到了中国的音乐与书画强调的“气息”。在中国文化中，“气”是一个重要的概念。
一水空的动作基本伴随着缓慢和自然的呼吸，这提醒了音乐演奏者们不能忽略呼吸和放松。演奏时如果运用“一水空”的基本姿势：双膝放松，不绷紧，下半身稍往后倾，重心放中轴上，这样会更容易得到放松。
在西方音乐中常常采用长句子的结构，这被称为“seamless”，即长久的气息。有了一水空的训练长气息的方法，再练习小提琴，可以帮助放慢呼吸，更轻松驾驭。
这几年，我坚持每一次练习小提琴之前做一些“一水空”的动作，不仅是热身了，可以保持好的气息，还在拉琴中的很多细节上有很大的帮助 ！
この記事が気に入ったらサポートをしてみませんか？