Music Capital: One City Silk Pipe
According to "Huayang Guozhi", during the Qin and Han Dynasties, officials in Shu often drank to music, and the scene was very lively.
In the Tang and Song dynasties, music was not only the exclusive property of the upper aristocracy, but also formed a grand scene where all the people were singing.
"Song History Geography" contains, Chengdu people "good music, less sorrow".
For the music scene in Chengdu's history, literati and writers throughout the ages have left a lot of poetry.
During the Three Kingdoms period, the style of music and dance in Chengdu was very popular. Zuo Si used "long-sleeved dances and dances with descendants" to describe the scene of Chengdu's music, dance and feasts.
"The river flows to the east, and the sun and the moon are long for wanderers. Zengcheng fills up the houses, and the trees grow in winter. The city is noisy and famous, and the flute is blowing." This is Du Fu's impression of Chengdu when he entered Shu: gorgeous buildings, emerald green Plants, and the noise of playing the flute.
The sound of musical instruments all over the city made the poet intoxicated and forgotten, and Du Fu wrote the famous quatrain "Giving Flowers to Qing": "Jincheng silk pipe is full of sun, half into the river and half into the cloud. This song should only be found in the sky, and the world can get a few. Back to the smell." Describes the superb music level in Chengdu at that time.
Mrs. Huarui used a series of "Palace Ci" to record the Tang tone of the Shu Dynasty in the court of the Later Shu: "The sound of the orchestra fills the Dragon Pond in a hurry, and the palace maid hides the hook for a night banquet."
During the Tang and Song Dynasties, the land of Shu was basically not damaged by war, the economy developed steadily, and the people lived a stable life.
Chengdu, as the first good district in Xishu, music has reached a new height, creating a prosperous music culture.
The "Hua Jian Ji" compiled by Shu people during the Five Dynasties period can be regarded as a collection of lyrics at that time.
Zhang Tangying, a scholar of the Northern Song Dynasty, described the prosperity of folk music in Shu in the "Shu Ting Tu": "Between the settlements and Luolu alleys, the strings are chanted, the feasts are held together, and the day and night are connected." Song Dynasty poet Zhang Zhongshu wrote in " Wang Jiangnan·Silkworm City" records that when Chengdu encountered important folk activities such as the silkworm market, even at night, the singing could not stop: "Chengdu is good, and the silkworm market is roaming. At night, the Sheng song is played on the purple street, and the spring invites the lights to go up to the red building. The chariots and horses overflowed Yingzhou." The prosperity of music in Chengdu seems to have the sound of silk pipe music all over the city.
Lu You, a great poet who entered Shu in the Southern Song Dynasty, could not help but express his emotion when he visited the Maha Pond in the spring, "The time is beautiful, the begonias are drunk, the peach blossoms are warm. It's the beginning of time to pick vegetables, smoking is approaching, and one city has silk management".
Famous Music: Affectionate and Straightforward
Historically, Chengdu has left behind a lot of famous anecdotes and famous music. The most representative one is "Feng Qiuhuang", which is based on the love story of Sima Xiangru and Zhuo Wenjun.
Sima Xiangru is not only a cifu master, but also a music lover, proficient in a variety of musical instruments.
According to "Historical Records: Biography of Sima Xiangru", Sima Xiangru traveled to Shu and attended the grand banquet of Zhuo Wangsun, a rich man in Linqiong.
During the banquet, Sima Xiangru, who was proficient in qin art, played two qin pieces in public, intending to stir the heart of Zhuo Wenjun, daughter of Zhuo Wangsun.
Zhuo Wenjun is talented and handsome, proficient in music, and a young widow.
"Jun Wen steals a glimpse of him from the household, and he is happy and likes it, I am afraid that it should not be done. After that, Xiangru Nai ordered people to give Wen Jun's servants (maids) to commute and diligently. Wen Jun ran to Xiangru at night, Xiangru Nai Returning to Chengdu with galloping."
In addition to "Feng Qiuhuang", the earliest records of music in Chengdu appeared in the ancient Shu period 2,600 years ago.
"Huayang Guozhi·Shu Zhi" states that "there was Emperor Kaiming in the ninth generation, and the ancestral temple was established. The wine was called Li, and the music was called Jing." King Kaiming was a musical genius, especially love music. He also wrote and sang his own songs.
He heard that there was a beautiful woman in Wudu in Gansu, so he invited him to look at her, made her a concubine, and loved her even more. He also wrote a song "Song of Dongping".
Madam Wudu was not accustomed to the soil and water, coupled with homesickness and depression, she soon died.
Emperor Kaiming was deeply mourned and composed "Yu Xie Song" and "The Song of Dragon Return".
Although the song has not been preserved, this allusion is often inscribed by later generations.
During the Sui Dynasty, a great musician, He Tuo, appeared in Chengdu.
After He Duo became a businessman in the Western Regions, he was good at music, playing the three tunes of Qing, Ping, and Se, as well as eight dances and four dances such as "Duo", "Duo", "Scarf" and "Fu".
Among the music that was born in Shu, there is also "Seventy-two Rolling Water".
The piece originated from "Flowing Water" played by Yu Boya.
Legend has it that Zhang Kongshan, a master of the guqin of the Shu School and a Taoist priest from Qingcheng Mountain in Qing Dynasty, faced the flowing water at the foot of Qingcheng Mountain.
Today, "Seventy-two Rolling Water" has become a representative piece of the Shu-style guqin.
After experiencing the "Mawei Incident", Tang Xuanzong, who took refuge in Shu, walked on the road of Shu, missed Yang Guifei sadly, and wrote "Rainling Bells".
According to historical records: "Emperor Ming was lucky to Shu, traveled southwest, and entered the sloped valley for the first time. It was raining for the first time, and he heard the bell in the rain on the plank road, and the sound corresponded to the mountain. When he mourned the imperial concubine, he selected his voice as the song "Yu Lin Ling". To send hatred."
The subject of ancient music: Guang Chengyun
Sichuan is the birthplace of Taoism, and Buddhism is also very developed. Religious music, especially Taoism, is a highlight of Chengdu music in the Tang Dynasty.
In the first year of Tang Zhonghe (881), Taoist scholar Du Guangting took refuge in Chengdu with Emperor Xizong of Tang and stayed in Shu.
Wang Jian, the former emperor of Shu, admired Du Guangting very much, and appointed him as the teacher of Prince Yuan Pseudo, giving him the title "Mr. Guangcheng".
In the fifth year of Qiande in the former Shu Dynasty (923), the later master Wang Yan took Du Guangting as the Fax Tianshi and Chongzhenguan Grand Scholar.
Soon, Du Guangting lived in seclusion in Baiyun Creek, Qingcheng Mountain.
During this period, according to the court music of the Tang Dynasty, Du Guangting absorbed the Taoist music of the Tang Dynasty, and created the "Guangcheng Yun" named after its Taoist name, also known as "Nan Yun", and later called "Dongjing Music".
Du Guangting's hometown was in Chuzhou, Zhejiang (now Lishui City, Zhejiang), which has always been the place where fine music flourished in the south of the Yangtze River.
Therefore, the "Guangcheng Rhythm" created by Du Guangting brings the rhythm of Jiangnan fine music, and has the "Jiangnan" characteristics of Longhu Mountain and Maoshan Mountain, so Sichuan Taoists call it "Xiajiang Diao".
Among them, the music such as "Buxu" and "Xianjiale" are lively and relaxed in style, popular and delicate, and have a wide range of influences in the folk.
In fact, the music of Mount Qingcheng itself is also very old.
As early as the Eastern Han Dynasty, there was Qingcheng ancient music.
The ancient music of Qingchengdongjing, which was born out of ancient sacrifices, is a wonderful work of folk music art.
In the Wei and Jin Dynasties, the royal family used it as the music for sacrifice to the sky.
The "Bu Xuqu" in the ancient music of Mount Qingcheng was produced in this period.
In the process of development, Qingcheng Dongjing ancient music has been widely collected, and elements of folk music, Taoist music, Buddhist music, and court music have been incorporated into the ancient music of Dongjing, which not only retains many of the original forms of ancient Shu music , also preserved the "Guangcheng Yun" and other ancient music's tunes and pieces. The melody is beautiful, the tune is peaceful, and the lyricism is delicate. It has been passed down in the towns around Qingcheng Mountain for more than 1,300 years.
During the Tang and Five Dynasties, there were many musical scores compiled from Chengdu and introduced into the Central Plains.
When Emperor Dezong of the Tang Dynasty, Wei Gao, the military envoy of Jiannan Xichuan, once sent musicians to make "Fengsheng Music in Nanzhao", "using the five palaces with different functions, sing the special sounds solo, repeat the "Wu Junpu", and divide the rhythm of gold and stone." "Jianpu" refers to the song and dance song "Fengsheng Music of Nanzhao", which shares five palaces and has a high skill of rotating the palace.
Therefore, "Fengsheng Music of Nanzhao" is also known as "Wu Jun Pu".
In the seventeenth year of Zhenyuan (801), "King Pyu... presented his national music, and when he arrived in Chengdu, Wei Gao's complex score was followed by the sound, and he also showed his dancing and musical instruments to present."
Musical Instrument: All Shuzhong Jing in the World
Chengdu's most important contribution to music is to produce some famous instrument masters and create a group of very famous musical instruments, which occupy an important position in the entire history of ancient Chinese music.
The bronze bells and chimes unearthed in Sanxingdui in Guanghan and Jinsha in Chengdu can be regarded as the earliest musical instruments.
Later archaeological discoveries in Xindu, Maoxian and other areas, such as the Yong bell, the mushroom and the zheng, all proved the musical existence of the ancient Shu people who lived on the Chengdu Plain for thousands of years.
During the Three Kingdoms period, Zhuge Drum, named after Zhuge Liang, was made of copper and is still used in important folk activities in some ethnic minority areas such as Sichuan, Guizhou and Yunnan.
In the Tang Dynasty, Chengdu has become an important music center in the country, and the famous Leiqin was born.
"Maoting Kehua" says, "The qin is the most prosperous in Shu, and there are several families who have chopped it, but the Lei family is the only one." Among the guqin known to the world today, the Tang Dynasty guqin is the earliest.
Among the Tang Qins, Leiqin is the most precious for its outstanding craftsmanship.
Today, the rare treasure "Jiuxiao Huan Pei" preserved in the Palace Museum was made by Lei Wei, the first generation of the Sichuan Qin family in the Kaiyuan period of the prosperous Tang Dynasty.
In 756 AD, the third son of Emperor Xuanzong of the Tang Dynasty used this guqin for his succession ceremony.
Its sound is warm and loose, pure and perfect, and has been admired by guqin players since the end of the Qing Dynasty.
The top of the Qinbei Pond is engraved with seal script "Jiuxiao Huanpei", the seal script "includes" one side of the big seal is engraved on the bottom, and the right side is engraved with running script "Changxiao Cangxiao, Xiaoyao Taiji. Ting Jian".
Above the feet of the qin is engraved in regular script "The spring breeze is delicate, the sound of the ring is melodious. The new Yan language of the hanging curtain, the old dragon of the Canghai sea. Su Shi Ji".
The former Emperor of Shu, Wang Jian, was a music lover. After his death, descendants carved a picture of "Twenty-Four Jiyue" around his coffin bed to accompany him forever.
In the stone relief "Twenty-Four Musical Instruments" unearthed in Yongling, 24 artisans held 20 kinds of musical instruments, including pipa, clapboard, Zhenggu, Hegu, Qigu, flute, Konghou, 筚篥, horizontal flute, and pan flute. It is the grand scene of 24 music and dances in the former Shu court.
In the Later Shu period, there was another musical instrument in the court - Fengsheng.
After Meng Chang surrendered to the Song Dynasty, he dedicated a "Feng Sheng" to the Emperor Taizu.
This is a 36-reed semitone transposition sheng.
The "General Examination of Literature" contains: "Today's Taichang Sheng: twelve voiced voices, twelve middle voices, twelve clear voices, commonly known as 'Feng Sheng', which was introduced by the King of Meng Shu. Music workers can't play, although they exist. No." This sheng has already appeared in the Tang Dynasty and is used in Taoist music.
Xu Yongqiang