Thus by contrast, konghou, a multi-stringed plucked instrument of the harp family, proves tobe the one only for a selected few. However, Wu, a foremost konghou master and virtuoso, surprisingly seems to be very satisfied with this figure. As konghou has always been primarily made and played for display and appreciation throughout history, it is not likely it will ever become a popular musical instrument any time in the future. For the vast majority of people, they learn about konghou by admiring, watching, and listening to it and deem it as one of the most crucial musical embodiments of Chinese culture. Nevertheless, they do not feel any desire to learn to play it.
A Royal Instrument
According to Wu, in antiquity, konghou was an instrument that was only played in the royal palace, as only royal members were entitled to savor its dulcet and celestial sound. If so, it is very logical that the quantity of contemporary konghou performers would remain at a rather moderate number, and the future potential of konghou evolving into a popular instrument would be quite small since that has been its fate for millennia.
Legends have it that the god of music was so amazed by the scenic beauty of the mortal world that he was reluctant to leave. When he finally had to depart, he left behind his beloved konghou as a token of his special fondness of that place. In ancient times, konghou was an instrument only played for royal members of the court in the palace. It was also employed as an instrument to facilitate the intellectual development of princes and princesses. On the occasion when konghou was played for the emperor while he was conducting ceremonial worship of the heavens and earth, everyone except for members of the royal court must withdraw from the immediate area, because ordinary people were not allowed to hear the instrument played.
Rebirth, Not Extinction
This story is from the May 2021 edition of China Today (English).
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This story is from the May 2021 edition of China Today (English).
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