Guqin is a traditional Chinese musical instrument which exists in China for more than three thousand years. Among the four arts - Music, Chess , Shu , Hua , of Chinese traditional Scholar, Qin is on the first place.
Mei-An is the last formed Guqin faction throughout the history of Guqin, it had built up its own unique performing style and has great influences on Guqin over the last hundred years. This thesis is going to discuss about the Mei-An development and influences of Guqin in Taiwan.
During the Cultural Revolution in China (1966-1976), most of the Chinese Cultures, Traditional Practices and Developments were diminished and terminated by this destructive event, same as the fate of Guqin. Fortunately, some musicians who could play Guqin came to Taiwan around the year of 1949, they focused on developing, teaching, and spreading the art of Guqin. For example, Wu Zong-Han and Shao Uan-Fu, were the two key person for the development of Mei-An faction in Taiwan.
This thesis will summarize the earliest origin of Mei-An faction historical context in China, and will focus on the Mei-An faction development in Taiwan for the past fifty-two years (1967-2019).
Mei-An faction has formed its own style in Taiwan for over the half century’s development. One of the key person-Wu Zonghan, though he stayed for only six years in Taiwan, has had a great impact on the major art academies followed by Shao Uan-Fu, there is also students inherited his faction.
This thesis is going to explore the heritage, manipulation and popularity with both academies and general public. Also, fifteen musicians, both from Mei-An and non Mei-An faction, were interviewed,comparing the impacts and contributions about the development in Taiwan. In addition, this thsie would compare the differences and similarities of Mei-An styles between Taiwan and China.
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