吴派琴学源远流长。早在春秋时期，孔子的学生言子在吴地弦歌化俗，传播琴文化。东汉时，蔡邕远迹吴会授琴十二年，发吴派琴学之端，流传焦尾琴的故事。初唐时，大琴家赵耶利的名言"吴声清婉，若长江广流，绵延徐逝，有国士之风。"对吴派古琴作了很高的评价。明清时期吴派先后出虞山、广陵诸派。至近代，吴浸阳（纯白、观月）、吴建（兰荪）和吴兆基（湘泉）相继在吴地倡导虞山古琴流派，发扬吴派传统琴风。吴兆基得父吴兰荪、师吴纯白两位大师的琴学真传，并融会贯通，集吴派古琴之大成。琴风中正平和、宁静古朴、清逸洒脱，有识之士誉之为"吴门琴韵"，在海内外广为流传。

【音乐会演奏者简介】

◎汪 铎（光瑜） 吴派大师吴兰荪之幼女吴兆瑜之子。师从吴门古琴宗师吴兆基，尽得其传。曾参学九嶷派大师杨时百之子杨乾斋。退休后创办《吴声琴学研究所》和《琴道》等刊物，并致力于古曲的打谱发掘。近年曾在北京、香港、巴黎等地演奏古琴。

◎吴光同 吴派大师吴兰荪支孙、吴兆基之子。自少受琴学世家熏陶，静深韵吴门琴韵精妙。

◎裴金宝 自少喜好丝竹、昆腔，后衷爱古琴，拜古琴宗师吴兆基为师。操缦之余研究斫琴、修琴，成果颇丰。

◎吴明涛 古琴大师吴兆基之孙，自少得祖父亲自传授，独具吴门琴韵之根基。

◎张 达 学弹古琴数年，独衷吴门琴风，师从吴门琴家汪铎。

◎裴琴子 自幼从父裴金宝学琴，习弹有十余载。

◎杨梅红 师从吴门琴家裴金宝，现苏州昆剧团演员。

◎王正超 吴门琴家汪铎的弟子，八岁起学琴，能领悟吴门琴曲基本心法。

鸣谢：

苏州市文化艺术界联合会、苏州市音乐家协会、 苏州科技学院、苏州科技学院文联、 吴声琴学研究所、吴门琴社

"Let there be an expanse between the waters ......."

"Let the water under the sky......."

"Let dry ground appear........."

................"It was Good"

Genesis 1: 3-10 beautifully described the power of "Let there be......." from which brings forward a "Good" appreciation.

I think "Let there be....." was an extension of His thought via wordly expression.  What was He thinking?  I do not know but the result shows that  "It was Good." 

"He is the kind of man who is always thinking about ______." Proverbs 23:7

"He is the kind of Good man who is always thinking about Good."

Then, Let there be Good, it will be Good.  In controversy, Let there be Bad, it will be Bad.

If what do we think highly affect what will be happening, I then think beautifully and things will become beautiful.

I hope you can read my mind of wishing every goodness for you.

Rule 12 : Speed kills, Momentum rhymes.

Focus on Present builds Future.

but by Purpose. 

蘇州刺繡是透過綉娘的時間，去表達耐性、細心、堅持、色彩與光的結合。「手工」在現代社會已經愈來愈少，蘇州刺繡將會變成更加珍貴。

我希望透過對蘇繡的保育和研究，可以從中了解到此藝術的美學，以及對女性的素質與性格有所被啟蒙。

天人合一，意義在於的解決「人」和整個宇宙的關係問題，也就是探求世界的統一性的問題。

知行合一，是要解決人在一定的社會關係中應如何認識自己、要求自己、以及應如何處理人與人、人與社會之間關係的問題。這就是關乎人類社會的道德標準和認識原則的問題。

情景合一，是要求解決在文學藝術創作中「人」和其創作物之間的關係問題。它涉及文學藝術的創作和欣賞等各個方面。

在以上三種的合一當中，情景合一對我來說是一個嶄新的認識，可說是一種人生境界吧。怪不得古代的詩人，能夠在天人合一與知行合一當中，揮灑自如地以詩和詞去表達他們感到的美。我相信這個「美」並不是代表外表的美麗，而是當一個人能夠感受到人生的生老病死及生離死別當中的心靈感動。

這正是我開始BonnieChanConcept的感覺。Concept可能是一種虛無飄渺的思想或概念，透過內心自有的內在超越能力，使我們在文化藝術當中，有系統地表達出來。亦可理解為將一些未被常人規劃化的概念表達出來，然後引起共鳴去建立新的概念。所以創作亦是一種整理思想方法的力量。

唐寅 (1470-1523)在抱琴歸去圖中，提到以下詩句：

抱琴歸去碧山空，一路松聲兩鬓風。神識獨遊天地外，低眉寧肯渴王公。

唐寅透過一幅簡單的山水畫和一首精拙的詩詞，把他個人對此時此地的精神感受，情景合一的表露無遺。這也正是我想透過重繪古代仕女圖的過程中，去感受當時不同年代的情景合一，提高我對劃時代的知行合一，以達到可以明白天人合一的竅門。

透過以油畫方式的連接與溝通，希望達到「天道」和「人道」的融合，以求了解其一體化的奧妙。

1. 瑤宮秋扇圖
2. 華清出浴圖

接下來我打算擴闊題材，增加長軸仕女圖。其中包括：

1. 花仕女圖

There are many shops selling oil-paints.  Once a while, I could see some artisits were doing their painting in their small workshops, or some even in the open terrace in front of their shop under the sun.  To me, it is a romance.  I like their care-free.

I knew I was looking for something but  that was not specific in my mind too.  I was attracted by a painting of a protriate.  His eye-sight were sharp and speaking, the paints were used so fine to even shows his winkles...... Then, I saw a man with medium long hair laying down on his shoudler, not musculin but a kind of ancient scholar look with bonny cheek, carefree in doing his painting.  I could not stop walking in to his workshop and disturb his painting with a greeting. 

:"I like your painting."  ......................there started my connection with Teacher Sam.

With my usual curious heart in action, I walked around the downtown of Suzhou city and finally found there were quite a number of photo shops along Kang Zeng Road.  Just by fate, I stepped in to a photo shop and asked whether I can hire their photographer to take some field pictures for me.  The answer was NO as they only do studio shooting. 

After a while, the receptionist told me that there was a newly graduated student from Photo-shooting specialty filling his application to be our photographer at the corner table and see whether I would like to check with his interest.  I just simplily asked and got his positive response.  I felt he has trust in me and left down his contact to me for my next visit to Suzhou.