Chapter 19 Section 4: Tianzhu Music in the Sui and Tang Dynasties

"Sui Shu·Music History" contains: "When Taizu (Yang Zhong) assisted Wei, Gaochang paid him to get his tricks, and taught them to prepare for the feast. In the sixth year of Tianhe (571 AD), Emperor Wu Playing Siyi music in Yeting. Later, Empress Di Ping got the music of Kangguo and Qiuci in Beidi, and mixed it with the old ones of Gaochang, and practiced it in Dasi music. Adopting its sound, it was played in Zhongshi , Take "Zhou Guan" and make Chen Zhi." It also contains: "At the beginning of Kaihuang (581 A.D.), it was ordered that seven pieces of music should be set up: one is "Guo Ji", the second is "Qing Shang Ji", and the third is " Koryo Ki, the fourth is called Tianzhu Ki, the fifth is called Anguo Ki, the sixth is called Kucha Ki, and the seventh is called Wenkang Ki." Le, Xiliang, Kucha, Tianzhu, Kangguo, Shule, Anguo, Koryo, and Libi, there are nine of them.” From these records, we can see It can be seen that the court music and dance in the Sui Dynasty was a great fusion of Eastern and Western music and dance, and great changes have taken place in just 30 years. Among the nine pieces of music, Western Regions accounted for more than half.This shows that the Sui Dynasty was established on the basis of a great integration of nationalities, and it absorbed the culture and art of various nationalities in the East and the West.Incorporating the music and dance of the Western Regions into the court and making it dominant is a huge change in the history of Chinese music, which is fierce and irresistible.As recorded in "Sui Shu·Music Records", the so-called "Zhengsheng" of the Central Plains at that time was greatly impacted, and Yan Zhitui called for "ritual collapse and music destruction". ) to the emperor Yang Jian, saying that "today's elegant music is too common, and Hu Sheng is used", and asked to "examine the classics" according to the old system of the Liang Dynasty.He forgot that the court music of Emperor Wu of Liang had been reformed, adding a lot of Buddhist content.Yang Jian, on the other hand, believed that Liang Yue was "the sound of a subjugated country" and should not be relied upon.Afterwards, ministers such as Zheng Yi, Niu Hong, Xin Yanzhi, and He Tuo discussed "Zhengsheng", and the discussion has been fruitless for several years.In Kaihuangzhong (around 590 A.D.), Qiuci music flourished among the people. At that time, there were Cao Miaoda, Wang Changtong, Li Shiheng, Guo Jinle, An Jingui and others. Yi", so that the princes and nobles "compete for admiration".Emperor Wen Yang Jian thought this was an ominous omen, and warned the officials: "Wen Gong and others are all fond of new changes, and there is no sound in what they play. This is very ominous. The country is shaped by one's own family, and it is transformed into a human style... Life and death, good and evil, are all related. Just go with it.” However, this new wind of music revolution did not stop after all.Emperor Yang of the Sui Dynasty further changed the seven-part music into nine-part music, making Western Region music dominate the court music and dance.

In the Tang Dynasty, Chinese music and dance culture developed into a new period. The influence of Indian music and dance increased, and the influence of Buddhism on music and dance became more and more obvious, mainly manifested in three aspects: First, Buddhist songs were very popular in the Tang Dynasty.According to the "Sui Shu·Music Records", Buddhist songs have entered the court of the Sui Dynasty.According to volume 569 of "Cefu Yuangui", in the thirteenth year of Tianbao (754 A.D.), "Qiuci Buddhist Song" was changed to "Jinhua Dongzhen", and "Jiqiuci Buddhist Song" was changed to "Jiuci". "Jinhua Cave Reality".This shows that there were Buddhist songs in ancient Qiuci before the prosperous Tang Dynasty, and they were still used in the prosperous Tang Dynasty; and changing its name to "Jinhua Dongzhen" shows that it may be absorbed and utilized by Taoism.According to the records of the Song Dynasty, there are 27 kinds of Yuefu tunes in the Tang Dynasty, such as "Puguang Buddha Song", "Maitreya Buddha Song", "Ri Guangming Buddha Song" and "Dawede Buddhist Song".In Tang Dynasty Nanzhuo's "Jiegulu" also listed some Buddhist songs, such as "Lushena Immortal Song", "Four Heavenly Kings", "Master Atomi's Song", "Infinite Life", "Nine-Colored Deer", "Eternal River Sand, Mahayana, Bishamon, Avalokitesvara, Sikyamuni, etc.Due to limited data, there are only a few repertoires of Buddhist songs in the Tang Dynasty, and the content can only be inferred from the titles.Some of these Buddhist songs in the Tang Dynasty came from the Western Regions and India, and some were created or processed by the people of Tang Dynasty.The reason why there are so many Buddhist songs is obviously that there is a certain need, either in the court, in the monastery, or in the folk.These examples can indirectly illustrate the musical cultural exchanges between China and India.

Second, many music and dance arts in the Tang Dynasty were related to India.There are also cases where Chinese music and dance art is famous in India.According to the fifth volume of "Biography of Master Sanzang of Daci'en Temple", King Jieri asked Xuanzang when he saw him: "The master came from China, and the disciple heard that there was a song and dance song "The Music of King Qin Breaking the Array" in that country. I don't know who the king of Qin is?" Of course, it's just that Indians heard that there are such music and dances in China, and it can't be said that it has any profound influence.But it can be inferred from this that the traffic between China and India was frequent at that time, and the art of music and dance was valued by both sides.According to Cui Lingqin's "Jiaofang Ji", among the Daqu and Zaqu in the Tang Dynasty, there are "Bodhisattva Man", "Nan Tianzhu", "Wangri Brahmin", "Su Hexiang", "Lion" and so on.These tunes may all have a certain relationship with India.Many Chinese and foreign scholars think so.For example, Mr. Chang Renxia once pointed out: "The Song of Neon Clothes and Feather Clothes" is a "Brahman Song". See also "Tang Huiyao" and Du You's "Keys to Reasoning and Dao". 2010) changed "Brahman Song" to "Neon Clothes and Feather Clothes".' Du You said in "The Essentials of Li Dao": "Tianbao changed all the songs in July in the thirteenth year..." In "Huang Zhongshang Brahman Song", it was changed to "Neon Clothes and Feather Clothes Song" "... It can be seen that it has a deep relationship with the "Brahman Song" of Tianzhu music." In addition, he also verified the relationship between "Su Hexiang" and "Lion" and India.

Thirdly, in ancient China, quite a few kinds of musical instruments were imported from the Western Regions or remade under foreign influence.Many of these instruments were introduced in or after the Han Dynasty.In this regard, from the end of the last century to the middle of this century, some foreign scholars have conducted special research.Japanese scholar Lin Qiansan once wrote the book "East Asian Musical Instruments", focusing on ancient Chinese and Japanese musical instruments, and extensively discussed the origin, spread, and evolution of various major musical instruments in Asia.During the discussion, Lin Qiansan referred to the writings of many Western scholars, made extensive use of literature and archaeological materials, and most of the opinions he put forward were tenable.

According to "Sui Shu·Music History": ""Tianzhu" originated from Zhang Chonghua's possession of Liangzhou, and Chongsi translated it as a tribute male performer. "Tianzhu" is its music. The song includes "Shashijiang", and the dance music includes " Tianqu". There are nine kinds of musical instruments, including phoenix-headed konghou, pipa, five-stringed strings, flute, bronze drum, Maoyuan drum, Dutan drum, copper cymbals, and shellfish. ""Old Tang Book Music History": " "Tianzhu Music", a worker's soap silk cloth turban, Bai Lianru, purple silk trousers, scarf. Two dancers, braided hair, morning glow cassock, linen, and green hemp shoes. Cassock, same as today's monk's clothing. Bronze drum, Jiegu, Maoyuangu, Dutangu, 筚篥 [bili must be recorded], flute, phoenix-headed harp, pipa, copper cymbals, shellfish. Maoyuangu and Dutangu are dead today." 15 less than "Sui Zhi" Strings, multi-jaw drums and harpsichords. "New Book of Tang·Li and Le Zhi" records that the musical instruments in "Tianzhu Music" are the same as those in "Old Book of Tang", except that there are one or five strings more.The above three books have basically the same records on the Indian musical instruments introduced to the Central Plains of China. It can be said that this record basically reflects the orthodoxy of Indian musical instruments at that time.

There is also a need to talk about drama here.We know that the heyday of ancient Chinese drama was the Yuan Dynasty.However, its origins are very deep.The Tang Dynasty can be said to be a gestation period before the official birth of Chinese drama.During this period, cultural exchanges between China and India also played a positive role in the birth of Chinese drama.Of course, this role was played through the spread of Buddhism. As we said earlier, there were lively music and dance activities in the temples of Luoyang during the Northern Wei Dynasty.For example, the activities of Changqiu Temple in Volume 1 of "Luoyang Jialan Ji" said: "On April 4th, this image often appears, to ward off evil spirits, and guide it; Strangeness is not constant. Strange tricks and clothes are the best in the city." When remembering Jingle Temple, he said: "Call all kinds of music, and play in the temple. Strange birds and monsters, dancing in the palace, flying in the air, illusion, never seen in the world. Heresy The thaumaturgy is all in one. Peeling a donkey and throwing it into a well, planting jujubes and melons, all of which can be eaten in a short time. The ladies and gentlemen who watch it will be dazzled." These acrobatics were performed in temples at that time, which shows that the temples at that time had Culture and entertainment have played an important role in promoting.In the late Tang Dynasty, temples once again became places for cultural entertainment.According to Qian Yi's "Southern New Book": "Chang'an theaters are mostly concentrated in kindness, and the young ones are in Qinglong, followed by recommending blessings and preserving longevity." The theaters of Chang'an temples in Tang Dynasty attracted many people, even nobles. .Volume 248 records: Tang Xuanzong's daughter, Princess Wanshou, married the living man Zheng Hao (haohao).Zheng Hao's younger brother, Zheng Xian, was seriously ill. The emperor sent someone to visit him, and when he returned, the emperor asked, "Where is the princess?" Very interesting.So, what is the theater?It is speculated that it is nothing more than some performances such as music and dance.According to "Old Tang Book Music History": "Singing and dancing dramas include "Da Mian", "Bitou", "Ta Yao Niang", "Ku Lei Zi" and other plays. Xuanzong banned the teaching workshop because of its unorthodox voice. It can be seen from this that song and dance dramas in the Tang Dynasty were not valued very much, but they were still kept in the official workshops.The Jiaofang is a place for training singing, dancing and opera artists.This is the situation in Chang'an, and there are similar situations in monasteries in other places.Li Chuo's "Story of the Book of History" said: "Zhangchou and Qiongzhen Shuri, Buddhist temples hold a meeting, and a hundred operas are in court. There are ten-year-old children dancing in Ganmo [miao seconds]." Neither the hundred operas nor the singing and dancing operas are real. drama in the sense of the word, but they gave birth to the embryo for the production of drama.