In the long river of Chinese classical music, the ancient qin melody of the Southern Song Dynasty "Xiaoxiang Water Cloud" has become a masterpiece spread through the ages with its unique artistic charm and profound emotional connotation. The story behind this piece tells the story of its creator, Guo Mian-zi Chu-Wang, and his inextricable relationship with that turbulent era, and how he fused his personal feelings and the fate of his country into the strings.
At the end of the Southern Song Dynasty, the world was changing, Yuan soldiers invaded the south, and the war was raging. Guo Mianyang, a guqin master born in Yongjia, Zhejiang Province (today's Pingyang, Wenzhou), had to leave the familiar Jiangnan water town and move to a quiet place near Hengshan in Hunan Province. His whereabouts, as if with the pulse of The Times beat together, is not only the yearning for peace, but also the helpless escape from reality.
Guo Mianyang boating in Xiao, Xiang two water intersection, here is the legendary Jiuyi Mountain, shrouded in clouds, water and sky color, beautiful. However, in Guo's eyes, this natural beauty reflects a different kind of emotion. Whenever the Jiuyi Mountain was covered by clouds and water, his heart was filled with an indescribable sadness. It is a lament for the loss of the native land, a lament for the broken mountains and rivers, and a feeling for their displaced life.
In this context, "Xiaoxiang Water Cloud" came into being. Guo Mianyang poured his love for nature, worries about his home and country, and confusion about the future into the strings. The music not only depicts the magnificent natural landscape, but also expresses the profound and introspective feelings about the country and the people. Every note is his deep love for this land, and every melody is his call for the brilliance of humanity in troubled times.
Since its publication, "Xiaoxiang Water Cloud" has not only become a classic work of Zhejiang School Guqin, but also been continuously interpreted and developed by later generations of luthiers. From the initial ten sections to the later eighteen sections plus one epilograph, the changes witness the continuation of the vitality of this piece. It is not only a treasure of Chinese guqin art, but also a cultural inheritance, carrying the pursuit of beauty, the memory of history, and the expectation of the future.