Karadai Kabuki Mural
Jiaofang is the tang dynasty court music and dance institutions, in the cultural prosperity, open atmosphere of the social environment, the church is eclectic, widely absorb the essence of folk and surrounding ethnic minorities song and dance, not only created many amazing works, but also became an important creative theme of the poet, the great poet Bai Juyi in the "Pipa Line" described a proficient pipa, but unfortunately fell into a foreign country of the church singers. Today, Wen Shijun will take a look at the tang dynasty's teaching workshops.
1. Establishment and development of the workshop
Jiaofang, as the name suggests, is a place where skills are taught and imparted, and first appeared in the Tang Dynasty. During the reign of Emperor Wude of Tang Gaozu, an internal teaching workshop was set up in the palace, which belonged to the Taichang Temple, mainly to cultivate music workers and teach Gagaku. During the Tang Xuanzong period, the church square officially appeared as an independent institution, and there were internal churches in Penglai Palace, and left and right churches outside the palace, of which the left church was mainly dance, and the right church was mainly music. Luoyang also set up a teaching workshop, located in Mingyifang.
In addition to the central church, there are also local churches. Emperor Xuanzong of Tang once held a banquet at the Wufeng Tower in Luoyang, ordered nearby states and counties to come and offer music, and rewarded and punished according to the quality. During this period, it was too common to hold the music of the music, the church to control the folk music, and the division of labor was clear, which greatly promoted the prosperity of music and dance, and promoted the emergence of the situation of the prosperity of song and dance.
Tang Dynasty music and dance diagram
After the outbreak of the Anshi Rebellion, the church was severely damaged, and in order to escape the war, the musicians had to run around, and the church institution was broken. After the end of the war, due to the need to reduce expenditure and develop the economy, the staff of the church was released in large quantities, and the church fell into a withering away. By the late Tang Dynasty, the dictatorship of eunuchs was becoming more and more serious, and the emperors were mostly faint and covetous, and the church was developed again.
2. The composition of the teaching workshop
The full name of the teaching workshop is "the envoy of the director of the teaching workshop", and the eunuch is appointed, and the first envoy of the teaching workshop is Fan Anji. Under them are also the Judge of the Teaching Workshop, Dr. Sound, and so on. The rest are musicians and tricks.
The envoys were appointed directly by the emperor to manage the selection and performance of musicians and dancers, and were not directly related to their personal musical talents. After the Middle Tang Dynasty, the government was gradually chaotic, and the power of the church began to expand. During the tang xianzong period, there was even an incident in which the church made the sect "take the good family ladies and the first tricksters" under the pretext of the emperor. In the late Tang Dynasty, the eunuchs' power became more rampant, the emperor was powerless to restrain them, and could only let them act, and the religious envoys were even more unscrupulous.
Late Tang Dynasty eunuch representative Qiu Shiliang (from "Song with the King")
Insiders are important constituents of the workshop. "Prostitutes enter the Yichun Courtyard, and they are called insiders." They themselves lived in the workshop and often performed in front of the emperor, so they were also called "predecessors". There are not many insiders, but they are all outstanding in appearance, superb in dance, and are the elite of the elite. They enjoy the privilege of visiting every month, and their families have the privilege of visiting every month, and they can also accompany them to their birthdays, and the treatment is not high.
Tang Dynasty musicians
In addition, there are youling. There are men and women, and even some children. Youling are often skilled, with special skills that others can't match, or good at singing, or good at dancing, or good at acrobatics. They relied on their own skills, and some of them could often accompany the emperor, such as Xu Xiaoke and Huang Haoqiu. Huang Haoqiu also received a silk robe from Emperor Xuanzong, which was an official dress of the Tang Dynasty, which shows how favored he was. However, Youling's own status was not high, and even if he could get the emperor's favor, he was still a tool for pleasure in the upper class.
3. The performance content of the workshop
The workshop mainly performs folk music, which is the opposite of gagaku, which is a popular music and a music and dance for people's entertainment. The performances include song and dance and music, but the proportion of song and dance is higher. The church performances were loved by the princes and nobles.
There are many pieces of music from the Tang Dynasty, including the Qing music of the previous generation, the Yan music that integrates the characteristics of neighboring countries and ethnic groups, and many folk music. Music can be without dance, but dance cannot be without music. Many dances are performed with the pieces, and the song and dance are formed.
Tang Dynasty dance is mainly divided into soft dance and jian dance. The former moves slowly and softly, and the music is soothing, while the latter is just the opposite, the music is brightly paced and the dance movements are strong and powerful. There is no strict distinction between soft dance and healthy dance, and some dances are in between, rigid and soft. There are many song and dance performers in the Tang Dynasty, such as the famous "Qin King Breaking Array Music" requires 120 people, which is a typical Jian dance, which has a lofty status in the Tang Dynasty, equivalent to national music.
"Qin King Breaking Line Music"
Tang Dynasty Sanle was divided into hundred plays and dramas. The hundred plays are similar to modern acrobatics, highlighting the superb skills of the performers and have no specific content. Drama mainly refers to song and dance. With the development of song and dance art, song and dance also have a plot and narration, and it has become a song and dance drama, which is the prototype of drama. Many people are used to linking drama to pear orchards, which is actually wrong. In the Tang Dynasty, Pear Garden mainly taught music, while the performances of the workshops were more extensive and could not be equated.
Tang Dynasty pear garden
Fourth, the source and destination of the workshop personnel
There are many people in the church, each with extraordinary skills, famous in the world, what are the sources of it?
First, Happy Household. The lehu household is mainly composed of official households and official slaves, and the status of official households is slightly higher than that of official slaves, and official slaves are mainly filled by the descendants of sinners. Once you become a happy household, you have to inherit it from generation to generation. The children and grandchildren of the Lehu family all learn vocal music from an early age and will be selected to serve in the palace at an old age. If there is a reason that cannot be fulfilled, it is necessary to pay silver two.
Second, folk artists. In the Tang Dynasty, folk artists were often selected to enter the church, and in addition to the ministers who voted for the emperor to offer folk artists to the emperor and foreign countries to visit and offer Hu Tricks, the imperial court would also regularly issue edicts to select outstanding folk artists to enter the church. Zhang Honghong was originally a folk artist, selling art with his father on the street, was valued by the general Wei Qing, dedicated to the church, and won the emperor's favor, and was successively named a talented person and Zhaoyi.
Tang Dynasty painted music and dance figurines
Choosing to join the workshop does not mean that they can stay here for a lifetime, and their destinations are basically divided into three types.
First, he was dismissed by the imperial court. The imperial court took the initiative to dismiss the musicians as a way for the emperor to save money and show his efforts, mainly after the Anshi Rebellion. In this case, the scale of the imperial court's dismissal of musicians was often very large.
Second, old age retires. People are always difficult to defeat the years, and the people who teach the music are no exception, especially women will often leave the palace after aging and decaying, and make a living in the folk. Although these happy people are no more glorious than in the palace, they can mostly die well by relying on their past fame and skills.
Third, the people are displaced. This mainly occurred during the Anshi Rebellion, which was also a disaster for the Jiaofang Musicians. Chang'an and Luoyang fell one after another, the emperor fled in a hurry, of course, there was no time to take care of the people of the church, they either fell into the hands of the rebels, had to perform for them, or were displaced, fell into the people, lived by selling art, and their lives were extremely bleak. Du Fu's "Jiangnan Feng Li Gui Year" reflects this social phenomenon: "It is common in the qi king's house, and Cui Jiutang has heard it several times before. It is the good scenery of Jiangnan, and the flower fall season is also the king. ”
Wen Shijun said:
The light song and dance are exhausted, and the song is over for a hundred years of tang. The prosperity of the Tang Dynasty is not only a microcosm of the development of Tang culture, but also a major milestone in the progress of music and art. The rise and fall of the honor and disgrace of the church is also accompanied by the ups and downs of the fate of the Tang Dynasty in history, and every song and dance is always concerned.
bibliography
1. Wu Di: "Research on Tang Dynasty Teaching Workshop", Master's Thesis of Shandong Normal University in 2018.
2. Bai Hongxiu and Wang Dingyong: "The Examination of the First Teaching Workshop envoy in the Tang Dynasty", Xiqu Art, No. 2, 2005.
3. Wang Chumeng, "Tang Dynasty Music and Dance Institutions and Tang Dynasty Music and Dance Development Examination", Dance, No. 5, 2021.
(Author: Haoran Wenshi Henan Normal University Spring and Autumn Society)
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