Recently, Juntianfang launched an online calligraphy exchange activity entitled "One Room of Qin Books is Enough for Your Own Fun - Swipe your brush at home, and fragrant ink to fight the 'epidemic'", encouraging everyone to entertain themselves at home, play the piano and practice calligraphy during the epidemic.

Juntianfang is located in Daxing District, Beijing. It is a diversified Guqin ecological base covering Guqin production, inheritance, research, creation, teaching, performance, ancient book protection, qin science publishing, and audio and video production. The founder and inheritor of the national intangible cultural heritage, Wang Peng, has different identities such as violinist, musician, and space designer. Aesthetics of life. "As a traditional Chinese musical instrument, the qin has the most primitive rhythm, rhythm, and the most intuitive response to the body. The sound of the qin is calm and heavy, and has a positive force. It embodies the oriental philosophy and aesthetic conception, and carries the core wisdom of Chinese culture and Aesthetics." Wang Peng said.

Inherit ancient wisdom with modern thinking

Influenced by his father, who is a mechanic, Wang Peng has been particularly interested in design and production since he was a child. It is not a problem to use tools. Sometimes he makes some musical instruments and plays music with friends. He was admitted to the Shenyang Conservatory of Music Department of Musical Instrument Technology to study Guqin production. . "For me at that time, what is a guqin and how to make a guqin is actually very unfamiliar, and I don't know what guqin knowledge should be learned." At the Conservatory of Music, Wang Peng received systematic training, not only learning music-related courses, but also Learn the basic knowledge and practical operation of woodworking, wood science, design and drawing, acoustic principles and other production-related courses.

The first class in the university was to measure the Tibetan qin "Ning Wangqin" owned by Gu Meigeng, a Sichuan-style guqin player, to understand the size and production process of this qin. Gu Meigeng is engaged in the research and teaching of guqin culture in the Conservatory of Music. She has a deep family background. She not only has many handed down guqin masterpieces in her family, but also has seen many famous qin in past dynasties. "Mr. Gu Meigeng is approachable, modest and harmonious. Although he is not my professional teacher, he is my enlightener." Since then, Wang Peng has the image of a qin master in his heart, and Guqin is also deeply in him. heart.

The true state of the ancient qin players is no longer known. Today people can only understand their spiritual realm from the books and instruments they left behind. Today's qin also has new methods, and it is no longer necessary to use the original method. "We can use chainsaws and planers when we break wood, but do we still need to use adzes? There's no need. We can't stick to past traditions, and we can't despise traditions in this modern education. Use a modern way of thinking to inherit ancient wisdom and culture." Wang Peng, who grew up in the modern education system, realized that the key to inheritance is to inherit cultural spirit rather than form. For example, when Wang Peng made "Zuo Liang Qin", he first grasped the curve changes inside the cavity, so that the sound of the piano not only has an ancient atmosphere, but also expresses the subtle timbre of the reverberation around the beam. Guqin is played by hand plucking, and the vibration of the strings is very small. In order to keep the strings vibrating with a certain energy and have a long aftertaste, while following the traditional practice, it must also combine the modern musical instrument manufacturing theory.

No connotation, no matter how fancy it looks, it's useless

After graduating from university, Wang Peng always wanted to innovate the shape of the guqin. "The form of this guqin is too old-fashioned, why can't it be changed." But after trying it, he found that the sound and connotation of the guqin were wrong. "I don't understand the spiritual connotation of the guqin, but I just took it for granted to create a very far-fetched change in form. Such a creative viewpoint is wrong." Wang Peng believes that, Whether it is sound or shape, if there is no aesthetic concept of "modernity, moderation and harmony" in it, the appearance of the guqin is useless no matter how fancy it is. Since then, Wang Peng has devoted himself to researching the timbre quality of Guqin, and resumed the production of traditional Guqin styles according to the records of Guqin score.

"Wuzhizhai Qinpu" is the most widely circulated guqin score since the Qing Dynasty. It records more than 50 styles of guqin in the past, but the style of the guqin drawn is simple, and the current qin masters cannot make it according to this. "Understand the aesthetic concepts of all aspects of the qin, understand the internal pronunciation principle, modeling structure, and the proportions of shoulders, waist, and tail of the guqin, etc., and then read "Wuzhizhai Qinpu", I feel comfortable, and I can express it as it should The things are found in the mind." Wang Peng sorted out more than 30 traditional piano styles and created more than 80 new styles. He has successively restored more than 100 famous historical violins, such as Tang "Jiuxiao Huan Pei" and Song "Dragon and Tiger Roar". The guqin used in the opening ceremony of the 2008 Beijing Olympic Games, "Shikuang Ceremony - Taikoo Legacy", came from him. In terms of innovation of modern guqin, Wang Peng designs guqin styles such as Dapeng style, knife coin style, leaning qin sword style, etc. "If almost all beautiful shapes are designed, then it may be possible to prevent future generations from deliberately spending a lot of energy on the form. to experience and study the connotation of the guqin more.”

Beauty in music continues in life

"If you don't know music, you can't make a qin, and you can't make a qin well." Wang Peng believes that an excellent qin master should be a guqin player and musician while proficient in the production process. A lot of influence. "Music is like a mirror that reflects our behavior. Feel each note with your heart, the relationship between notes, the relationship between phrases, and even the shaping of the entire musical image, and feel the sound of the piano, which is enough to turbulent blood and circulation. Spirit and character." Wang Peng often closes his eyes and concentrates when he plays the piano to appreciate the artistic conception, but when he finishes playing and looks around, if the environment does not match the sound of the piano, it will make him feel a big gap. "I hope the beauty in music is in life. continue."

In 2001, Wang Peng founded Juntian Square in Daxing District, Beijing, and later opened Juntian Qin Academy. As a national cultural industry demonstration base, a national intangible cultural heritage protection research base, and a Beijing-level intangible cultural heritage productive protection demonstration base, Juntianfang has been based on the inheritance and development of traditional guqin making techniques for many years, and advocates the use of human intangible cultural heritage. The concept of integrating cultural heritage protection into contemporary life, through the design of humanistic life aesthetics and the combination of guqin and traditional Chinese cultural aesthetics, has practiced a road of protection and inheritance that integrates intangible cultural heritage with contemporary life.

When designing the Juntianfang Guqin Aesthetic Space, Wang Peng integrated Guqin culture and contemporary design concepts, presenting the oriental aesthetic spirit of Guqin's "clear and distant, neutral and peaceful", allowing people to walk through it and feel the immersive learning of Guqin unconsciously. Environment and Atmosphere. "Whether it is classrooms, dormitories, canteens, museums, mountain living spaces, concert halls, any space in Juntianfang can make people feel my intentions." Wang Peng believes that the space environment and living atmosphere have a direct visual impact A person's psychological mood and life state.

In 2012, Wang Peng formally proposed the aesthetic concept of combining the art of Guqin with contemporary life, and planned the art exhibition "No Trace—Aesthetics and Life Attitude of Contemporary Qin People" to be held at the National Centre for the Performing Arts. The art exhibition is named after the guqin "Wuhen" made by him. The violin adopts the ancient method of "Eight Treasures Grey Tire". The exhibition explores the application and inheritance of intangible cultural heritage in contemporary life through traditional Chinese aesthetic elements such as piano, calligraphy and painting, tea, flowers and incense. Since then, Juntianfang has launched themed exhibitions such as "Zhen Qi" and "Reproduction of the Original Sound", as well as the exhibition of Chinese Guqin art and contemporary literati life aesthetics, which has received strong responses both inside and outside the industry.

At the exhibition site, the audience can experience guqin trial exercises, temporary calligraphy practice, woodworking, etc., to complete the process of "creating beauty with their own hands". "When people slow down and walk into such a scene, they can feel the power and connotation of culture, and use the power of culture to retrieve the long-lost truth, goodness and beauty. We hope that through this concept, the profound oriental cultural wisdom can be used Effective interpretation of the language of contemporary art makes the traditional humanistic spirit more deeply integrated into contemporary life.” Recently, Wang Peng summed up the precious memories and wonderful clips of the performance of “Walking with Things”, and published “Walking with Things - The Art of Chinese Guqin and the Art of Chinese Guqin”. The book "Contemporary Life Aesthetics", with pictures and texts, conveys the spirit and concept of "multiplying things to travel the heart" embodied in the exhibition to more people.