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S otheby's is privileged to curate an online auction titled “Sense x Soundness,” running from 18-27 November 2024. This event features a lifetime collection of guqins and Son💛g-Yuan dynasty ceramics from Mr. Tang Liangxing and Mr. Jeffrey Chang Shin-che, respectively, offering a dialogue that transcends history, aesthetics, and personal experience between two luminaries of classical and pop musi🎃c.
Tang Liangxing hails from an illustri꧑ous family of traditional Chinese silk and bamboo musicians, the Tang Family Band of Shanghai. His musical journey began at the age of seven with the erhu, followed by the pipa at the age of 12. By 13, he was enrolled in the affiliated school of the Shanghai Chinese Orchestra, and by 14, he was studying the guqin under the tutelage of the esteemed master Zhang Ziqian (1899-1991). Tang's artistic achievements are rooted in a childhood of rigorous discipline, resilience, and the careful guidance of his teachers.
In 1962, Zhang noted in his diary: “Student Tang Liangxing, age 15 and originally a pipa student, shows great proficiency. He now begins to study the guqin with me. Given his bright talent, achieving mastery should not be difficult.” This was the beginning of Tang's profound connection with the guqin, leading to his creation of beloved pipa pieces inspired by guqin music, such as “Three Variations on the Plum Blossom” and “The Drunken Madman,”ꦦ which r💦eceived direct praise and encouragement from his teacher Zhang.
Jeffrey Chang, on the other hand, grew up in a pastor's family in Yunlinౠ, Taiwan, with his musical roots in church school. It seems fate𒈔 had a plan for him in music; he won his first music competition in the second grade at a Christian school, which soon led to his recording debut. His career is built on innate talent, relentless effort, family support, and his faith.
Chang openly admires traditional Chinese music, which deepened his understanding and appreciation of Chinese culture. In his m🍌usical compositions, he attempts to integrate traditional elements, enriching his works with diverse influences. Chang's music has evolved significantly over the course of his career spanning three decades, yet Chinese musical elements remain woven throughout his melodies. He believes that encountering beauty opens up aesthetic perspectives, which perhaps also led to his beco🏅ming a collector.
When Chang first debuted, the middle-aged Tang was deepening his studies in America, tirelessly promoting Chinese music at thousands of pipa𒀰 solo concerts, various music events, and university lectures worldwide. Chang Hsueh-liang (1901-2001) once wrote a piece of calligraphy for him, quoting the famous poem by Du Fu: 「此曲只應天上有，人間能得幾回聞。」 (“This tune should belong to the heavens; how often can we hear it on earth.”) In recognition of his contributions to America's multicultural landscape, Tang was awarded the National Heritage Fellowship by the National Endowment for the Arts in 1993, with a congratulatory letter from President Bill Clinton. Later, he was invited to teach at Tainan University of the Arts and for two decades, Tang nurtured many talents in Chinese music. In his 70s, he returned to Shanghai, continuing to shine on various stages and in music academies.
Tang is known for his generous spirit and describes himself as a “free-spirited wandering musician.” Despite a life of travels, he considers himself rich, at least spiritually, a🅺s “music knows no poverty.” His music exudes a robust purity and simplicity, embodying the spirit of a true artist. His character and charm have not only touched countless audiences but have also earned the affection and respect of his senior masters. The two treasured guqins in Tang's collection were once owned by the last chief musician of the Qing dynasty court, Luan Xian, and exchanged with Pu Xuezhai, a master of the guqin and a relative of the imperial family.
If Tang's collection of ancient instruments stems from his pursuit of music and purity of heart, Chang's collection of Song dynasty ceramics comes from his love for Song culture and art appreciation. Song ceramics, known for their naturalism, restraint, and simplicity, became his passion to deepen his understanding of the era's cultural ambiance and aesthetic. His collection predomin🅰antly consists of incense burners, especially smaller qin burners, chosen for their exquisite craftsmanship and embodiment of the Song dynasty's pursuit of quality in everyday life. Through collectin♉g Song ceramics, Chang gradually discovered that these delicate incense tools are not only practical items but also cultural vessels that carry the spiritual and aesthetic ideals of Song dynasty scholars and poets.
