重新吹响千年尺八

◇文| 本刊记者 胡 婷 图| 游 宇

卫星

Wei Xing

卫星，青年民族管乐演奏家，毕业于西安音乐学院，中国笛子学会理事、重庆民族管乐学会笛箫会长、重庆市民乐考级评委、四川笛子学会理事。

Wei Xing, graduated from Xi'an Conservatory of Music, is a young national wind music performer, a member of t he Chinese Bamboo Flute Society, the director of the Chongqing National Association of Wind Music, a judge of the Chongqing Municipal Folk Music Grade Examination Committee and a director of the Sichuan Bamboo Flute Society.

一曲细细浅浅的《雪之音》，时而绵长，时而急骤，时而舒缓，时而激越，游荡在静谧雪空里的箫音，在世界屋脊飘散开来。

2015年，海拔5200米的珠峰大本营，卫星鸭舌帽下，满月形脸庞上两缕茂盛的络腮胡间，一根斜持的箫管微微摇动。

The song named“The Sound of Snow”, sometimes lingering, sometimes abrupt, sometimes soothing, sometimes passionate, is wandering in the silent and snowy sky and echoing in Qinghai-Tibet Plateau, the roof of the world.

In 2015, in the Everest Base Camp at an altitude of 5,200 meters, an obliquely held Xiao (Chinese vertical bamboo flute)shook slightly under Wei Xing’s peak cap, between his handlebar mustache on a full moon-shaped face.

带着笛箫边走边学 Learning to Play Xiao and Flute While Traveling

三年前雪山上两个小时的吹奏，令卫星终生难忘。而到珠峰吹奏尺八，也并非心血来潮。12年前，卫星决意带着他的笛和箫，走遍祖国的大好山河。

“音乐对地域的要求很敏感，不同地域的音乐风格，吹奏起来差异很大。比如说江南，音乐风格就很柔美婉约，像我们手指一样灵活而富有弹性，要演奏《姑苏行》，就必须到江南水乡感受那柔美的风光。”不同地方的游历，卫星会结合不同地域的音乐特色，将自己的感悟融进曲子里。

不同的场景，被卫星演绎出不同的意韵。戈壁大漠，在笛箫中淌出骏马奔腾的壮阔；小桥流水的江南，卫星赋予平仄起伏的惊鸿；无边辽阔的草原，卫星沥出风吹经幡的沉稳与豪迈；黄河在若尔盖草原盖上厚厚的邮戳，笛音传来排山倒海的浩荡；轻舟已过万重山的三峡，卫星从高处泼墨低处吟诵，抑扬顿挫的清脆在笛箫中明媚。

每到一个地方，卫星还会拜访当地的民管乐家和演奏家，曾先后师从邢万里、马迪、张维良（中国笛子学会会长）、唐俊乔（上海音乐学院教授）、神崎宪、福田辉久等著名演奏家。

正是在游学的过程中，卫星接触到了尺八，并开始学习这门曾经失传的绝技。

尺八形似洞箫，因管长一尺八寸而得名，发源于东汉，盛行于隋唐，并成为宫廷雅乐。汉代称羌笛，魏晋称长笛，唐代才开始名为尺八。然而由于封建时代的社会动荡，导致尺八在中国逐渐失传。

不过，尺八却在日本流传和盛行开来。2000年初，日本尺八大师冢本平八郎到中国拜“笛王”赵松庭为师，学习循环呼吸法。当时，赵松庭希望冢本日后能将发源于中国却又早已在中国失传的尺八演奏带回来，冢本当即答应。此后，冢本每年到中国两次，义务教授，赠送尺八，从未间断。

The experience of playing flute on the snow-capped mountain three years ago for Wei Xing is unforgettable for a lifetime. Therefore, playing Shakuhachi on Mount Everest was not a whim. Twelve years ago, he decided to take his flute and Xiao and travel across the great mountains and rivers of the motherland.

“Regional differences have a great influence on music styles. The music styles in different regions vary greatly. For example, Jiangnan's (regions in south of the Yangtze River) music style is very soft and graceful as flexible as our fingers. To play A Journey to Suzhou, you need to view the beautiful scenery in south of the Yangtze River in person.”Traveling in different places, Wei Xing would always integrate his feelings into his songs according to the music characteristics of different regions.

Wei Xing played different music styles in different scenes. In the desert, it was a kind of magnificence like horses galloping. In south of the Yangtze River, his music brought ups and downs to the graceful Jiangnan. In the boundless grassland,he played music of calm and bold style like wind blowing flags. The Yellow River has left thick mark on the Ruoergai Grassland and the sound of the flute was overwhelming. In the beautiful Three Gorges,the sound of flute and Xiao is clear and melodious.

Every time Wei Xing went to a place, he would always visit the local civic musicians and performers.He once learned from Xing Wanli, Ma Di, Zhang Weiliang (Chairman of the Chinese Bamboo Flute Society), Tang Junqiao (Professor of the Shanghai Conservatory of Music), Kanzaki Kenzo, Futian Huijiu and other famous performers.

It was during the study tour that he came into contact with the shakuhachi and began to learn the stunt that was once lost.

The shape of Shakuhachi is like a vertical bamboo flute, named after its length of a foot and eight inches. It originated in the Eastern Han Dynasty, prevailed in the Sui and Tang dynasties,and became a graceful palace music. In the Han Dynasty, it was called Qiang Flute. In the Wei Jin Dynasty, it was called long flute. Until the Tang Dynasty, it was named Shakuhachi. However, due to the social turmoil in the feudal era, Shakuhachi was gradually lost in China.

However, the shakuhachi has spread and prevailed in Japan. At the beginning of 2000, Japan's Shakuhachi master Masaru Tsukamoto visited China to formally learn the circular breathing from the “master of the flute,” Zhao Songting. At that time, Zhao Songting asked Tsukamoto to bring the shakuhachi performance that originated in China but had already been lost back to China. Tsukamoto immediately agreed to this request. Since then,Tsukamoto has come to China twice a year to teach Shakuhachi for free and give away the shakuhachis.So far, he has never stopped doing it.

在巴山渝水间继续音乐梦 Pursuing His Music Dream in the Beautiful Landscape of Chongqing

2007年，初到重庆，这个来自甘肃敦煌的西北汉子和重庆有了一面之缘后，立即被这座气息相通的城市吸引。重庆人的耿直和西北人的豪爽一拍即合，这之后，他选择扎根重庆，在巴山渝水间，继续自己的音乐理想。

“你尺八吹得这么好，来重庆干啥，应该去北京上海这些地方发展。”吹奏演奏家罗庆忠在听过卫星的演奏后直言不讳。卫星却有自己的想法，他想留下来，带动重庆民管乐的发展。

如今，卫星已记不得教过多少学生了，只是说“学生的学生都在教学生了”。他的学生上到六七十岁的老人，下到十多岁的少年，各个领域的人都有，他更愿意把他们称作朋友。

他的一个学生，是西南政法大学的哲学博士。学生向卫星学习尺八吹奏，卫星也会经常去旁听一些中国哲学课程，“我可以从传统文化里吸收养分，从而提高我在尺八演奏上的内涵。”

2016年，是卫星来重庆的第十个年头，他在施光南大剧院举办了个人首场音乐会，算是给自己的一个交代。他说每年都会举办一场音乐会，去年在重庆爱乐工厂，今年冬天计划在国泰艺术中心。

In 2007, when Wei Xing first arrived in Chongqing, the man from the northwestern region of China, Dunhuang in Gansu Province,was immediately attracted by the atmosphere of the city. The integrity of Chongqing people and the straightforward personality of people in the northwest hit it off. Since then, he chose to stay in Chongqing and continue to pursue his music dream in the beautiful landscape of Chongqing.

“Since you are so good at playing shakuhachi,why are you still in Chongqing? You should go to places like Beijing and Shanghai.” Luo Qinzhong,a famous performer, said after listening to the performance of Wei Xing. However, Wei Xing had his own ideas. He wanted to stay and to promote the development of Chongqing folk and wind music.

So far, Wei Xing has taught countless students.He said that his students’ students are teaching students now. Some of his students are old people aged 60 to 70, some children in their teens, and people in all fields. However, he is more willing to call them friends.

One of his students is a doctor in Southwest University of Political Science and Law. This student learns how to play shakuhachi from him and he also frequently goes to the college to attend some Chinese philosophy courses. He said that “I can learn a lot from the traditional culture, so as to improve my connotation on shakuhachi performance.”

In 2016, it was the tenth year that Wei Xing came to Chongqing. He held his first personal first concert at the Shi Guangnan Grand Theater, which was also considered as a recognition of his own efforts. He said he holds a concert every year. Last year, he held it at the Chongqing Philharmonic Factory and he plans to hold it at the Guo Tai Arts Center this winter.

从音乐人到匠人 From Musician to Craftsman

卫星的音乐工作室里，摆放着着各种钳子、撬、钳子、刻刀等手工制作工具。这里不仅是卫星练习乐器的地方，还是他制作笛箫的场所。包括箫、笛、尺八在内的所有民管乐器，都是卫星亲自手工制作的。

从小，卫星就喜欢音乐。小学时，学校音乐教室有一架脚踏风琴，木质的，空闲时候，他就会去学习弹奏，“它的构造就像缝纫机，弹奏时需要用两只脚一边踩，一边踏，才能发出声音。”

脚踏风琴，陪伴卫星度过童年的时光。也是从那时起，卫星开始琢磨手工制作乐器。他的第一根笛子，是他7岁时用灰白色塑料水管手工完成的，“神奇的是，居然可以正常吹出音乐。”

在西安音乐学院上学时，卫星就修复各种民族乐器，同学的乐器坏了，都是他修好的。

但制作乐器并不是件容易的事，尤其是尺八。为了找到合适的竹子，每年的十二月和一月，卫星都会开车几个小时，到江津、永川、梁平等地挖竹子。

而要找到合适制作尺八的湘妃竹，他还会到湖南、安徽去找优质的竹材。有时候，精心挑选的几十根竹子，在后期晾晒后质量不合格，大多都不能用于尺八制作。

“尺八的制作，总共有二十来道工序，包括竹子内壁的处理，歌口的镶嵌，开孔调音，表面漆器的处理等，有可能一天都在磨竹子，磨内壁。”卫星说尺八的制作周期一般三到四个月，制作工序非常复杂。

There are various hand-crafted tools such as pliers, pries, and burins in Wei Xing's music studio.It is not only where Wei Xing practices instruments,but also where he makes flutes and Xiao. All folk wind music instruments, including Xiao, flute, and shakuhachi, were handmade by himself.

Wei Xing began to love music since he was a little kid. In elementary school, there was a harmonium which is made of wood in the school's music classroom. Whenever he had time, he would go to the classroom to learn how to play it. He said:"This harmonium was just like a sewing machine.When you are playing it, you need to use your both feet to step on its pedals in turn to make it sound.”

It was with this harmonium that Wei Xing spent his childhood. Since then, he has started to make musical instruments. He made his first flute, which was made of gray plastic water pipes, when he was 7 years old. To his surprise, it could actually make a sound like other flutes.

When he was a student at Xi’an Conservatory of Music, he began to repair various musical instruments. The broken instruments of his classmates were all repaired by him.

However, making musical instruments is not an easy task, especially the shakuhachi. Every year in December and January, he will drive for several hours to Jiangjin, Yongchuan or Liangping in order to find the suitable bamboo.

Besides, he would go to Hunan and Anhui province in order to find the mottled bamboo, which is the suitable material for Shakuhachi. Occasionally,dozens of bamboos that were carefully selected were unsatisfactory in quality during the later period of drying. Most of them could not be used for making shakuhachi.

“The production of the shakuhachi has a total of twenty processes, including the processing of the inner wall of the bamboo, the setting of the inlay material,making holes and tuning, the processing of the surface lacquer, etc. It is possible to grind the bamboo and its inner wall for a whole day”, Wei Xing said.