The Confucius Festival Dance is a special music and dance of the Confucius Temple Sacrifice Ceremony, which is an important part of the Confucius Temple's interpretation ceremony with music, song and dance. This music and dance is limited to major festivals such as the "National Festival" and "Ding Festival" (spring, summer, autumn and winter, that is, the upper Ding Day of the second, Fifth, Eighth and November of the lunar calendar). The musical scores used in the ancient festivals, the palace tunes and the dance notations of the dances were all approved and approved by the emperor, and no one else was allowed to change them without authorization.
However, since the ancient rites are not followed, the pleasures are not inherited, and whenever the dynasties are changed, there will be rituals and music. Therefore, the ritual dances formulated by the generations are different. Since the twenty-second year of the Southern Dynasty Song Dynasty Emperor Yuanjia (445 AD), the crown prince Shi Dian Confucius used music to play the song for the beginning of the interpretation of the music, and from the first year of the Sui Wen Emperor Renshou, the sacrifice of Kong music and dance was stipulated for the exclusive use of Confucius Shi Dian.
In the ninth year of Tang Gaozu Wude (626 AD), the emperor ordered Taizun of Taichang Temple, Dou Yan and others to make twelve chapters of "Great Tang Yale", also known as "Twelve Harmonies", taking the meaning of "Great Music and Harmony with Heaven and Earth". Including all the royal music and dance, the matsuri music and dance is part of the twelve sums. During the Zhenguan period, Zhang Wen of the Xielulang received the edict and the Qiju Lang Lü Cai again examined the Lulu, stipulating that the sacrifice of Kong Shi used the "Deng Song", the Dian Coin Music "Suhe", the Jindou and The Beans (the beans are ancient sacrificial ceremonial instruments) to play the "Yonghe", and the dances had literary dances and martial dances. In the twenty-second year of the reign of Emperor Xuanzong of Tang (734 AD), he added "Twelve Harmonies" to "Fifteen Harmonies". There are seven chapters of the Xuanwang Movement of The Interpretation of Dian Wen in the Quan Tang Poems, namely "Chenghe", "Chenghe", "Suhe", "Yonghe", "Shuhe", "Greeting God", and "Sending God".
During the Five Dynasties Later Han Dynasty, the three new chapters added during the Tang Kaiyuan period were abolished, and the "Twelve Harmonies" were changed to "Twelve Cheng", and the Xuanhe was changed to "Shiya" when the Foundation was interpreted. Later, in the later week, it was changed to "twelve shun", and when the foundation was released, he went to "Shi Ya" and played "Li Shun".
In the first year of the Song Dynasty (960 AD), The Taichang Temple, The Scholar dou yu of the Hanlin Academy, and others made sacrificial music and dances, changing "Twelve Shun" to "Twelve An". Sacrifice king Wenxuan to use the pleasure of "Yong'an". When the emperor was in person, he used the word "palace hanging". In the second year of Emperor Jingyou of the Song Dynasty (1035 AD), emperor Zhao Zaichen Lü Yijian and others revised the gong music dance and replaced "Yong'an" with "Ning'an". During the sacrifice of the hole, the ascending hall and the descending order music play "Tong'an"; the Dian Coin music plays "Ming'an"; the drinking music plays "Cheng'an"; the drinking blessing music plays "Rao'an"; and the sending of the divine music plays "Ning'an". In the fourth year of Emperor Chongning of the Song Dynasty (1105 AD), he specially set up the "Dacheng Lefu" to preside over the formulation of the matsuri Kong music dance. In the sixth year of the Reign of Emperor Huizong of Song (1116 AD), the Qufu Confucius Temple was issued with the addition of two movements, namely the Ascension and the Dian Coin.
In the fourteenth year of Jin Sejong's reign (1174 AD), the Jin Music was named "Taihe No Le", and each movement was named after the character "Ning", such as Shi Dian Ying Shen Le "Lai Ning", Shu Shu Music "Jing Ning", Dian Coin and Chu Xian Music "He Ning", etc.
Yuan Le has a total of nineteen poems, seven chapters of music scores, playing 340%, changing six or seven palace tones. The movements are named after the character "Ming", such as the Ying Shen Music "Civilization", the Wash Music "Zhaoming", the Ascension Hall and the Descending Order Music "Jingming", the Dian Coin Music "Deming", the Discretionary Offering Music "Chengming", the Ya and Final Dedication Music "Lingming", and the Sending God Music "Qingming". "Music Suspension" still maintains the form of "Dengge".
In the first year of the Ming Dynasty (1368 AD), the LawMan of Fortune changed the score, and the movement was renamed "He". In the 26th year of Hongwu (1393 AD), he awarded "Dacheng Music" to Qufu and the whole country to dedicate confucius. In the thirteenth year of Emperor Mingxian's reign (1477 AD), confucius was added to the "Eight Nobles" and "Beans" (sacrificial vessels) were added to the twelve, and Confucius was sacrificed in the specifications of the emperor's music and celestial rituals. Emperor Ming Shizong repeated that "music is hung with Xuan, and dance is used with six". Ming Le synthesized the nineteen chapters of Yuan Le into six chapters and six pieces, and inherited the comprehensive art form of music, song and dance since the Tang Dynasty, so that the dance of the sacrificial Kong music tended to be perfected and refined.
In the sixth year of the Qing Kangxi Dynasty (1667 AD), it was re-written as "Zhonghe Shaole", taking the meaning of "Taiping under heaven", and the movements were named after the character "Ping", and awarded to Guoxue for the purpose of interpreting Confucius. Yingshen music played "Zhaoping", Chuxian music played "Ningping", Yaxian music played "Anping", final dedication music played "Jingping", and Che Fu music played "Xianping" movement. When sending gods and looking at acne, change the lyrics and repeat the song of "Xianping". The whole music is composed of five pieces and seven pieces. In the eighth year of Qianlong (1743 AD), it was awarded to all counties and counties across the country and the Queli Confucius Temple", and the name of the music in the Kangxi Period was changed, and the whole song was more than six chapters and eight pieces. Until the Republic of China, this music and dance procedure was basically followed.
Source: Nishan World Center for Confucianism
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