Archaeological notes
The Western Music and Dance of Ankang during the Southern and Northern Dynasties
In the Han Dynasty, music and dance were performed together with acrobatics, known as "Music and Dance Hundred Plays", and on the portrait brick of "Feasting and Drinking Hundred Plays" unearthed in Jinping, Pingli County, there were acrobatics of flying knives with open arms and dancing on top of drums. There are also mysterious illusions. The former reveals the trajectory of the evolution of acrobatics to dance, such as "Pan Encouragement" performed by only one person, and there is no band and accompaniment dance. Another form of dance in Ankang is the Chu Dance, which is mainly manifested in the "Jian Encouragement" on the portrait bricks, which uses the Jian Drum as a dance instrument, and the dancers make various dance gestures to beat the drum. On the Jian encouragement on the Jinping portrait brick, next to the hanging drum, there are two dancers wearing long-sleeved dance clothes, standing at both ends of the drum, one left and one right, the left dancer bends the right arm on the upper right side, and the right dancer bends the left arm on the upper left side, and the dance posture is extremely beautiful. The above dances are all common local dance music in the Han Dynasty, and there are many articles on research and research, so it is outlined as such. During the Wei and Jin Dynasties, although the music and dance in the Western Regions discovered by Ankang were disclosed by another star, few people knew about it, let alone research and research, so it was necessary to include it in the special topic for discussion. In the spring of 1983, a group of pottery figurines with full regional characteristics was excavated from the tomb of the Changling Dynasty in Hanbin District. Among them, Mr. Shen Congwen, a well-known expert in the study of cultural relics, said: "The length of the clothes is knee-length, the sleeves are very small; the belt with hooks is tied around the waist, which can be loosened and tightened; the head wears a pointed hat made of felt or leather; and the feet wear short leather boots, "a musical and dance figurine dressed in a beard, some of them holding the pipe and blowing horizontally, some holding the waist drum to beat, and the most eye-catching is a female dance figurine, she crouches cross-legged, her right hand caresses the ground, and her left hand is bent on the chest, and the dance posture is beautiful and elegant. It is the earliest dance image found by Ankang with the independent existence of musical instrument accompaniment. Coincidentally, in the same year, in Baihe County, Mahu also unearthed a celadon pot holding a "Qi" (axe), the dancer was a male Hu person, wearing a virtual top hat, wearing a narrow sleeve shirt, a long belt at the waist, a short leather boot on the foot, the right leg was bent, the left foot stepped on the circular dance carpet, looking back at Gu Pan, shrugging his shoulders, waving the props in his hand, twisting his waist and feet, making a rapid forward turn, leaping dance posture, giving people a masculine beauty. Huteng Dance was originally a folk dance in the Tashkent area of central Asia, which is known for its jumping, so it is called "Huteng". In the past, it was thought that it was only introduced to the Central Plains during the Tang Dynasty, and the discovery of this Huteng dance pattern celadon pot proved that it had spread to the Central Plains at least during the Southern and Northern Dynasties, and was loved by the rulers of the Southern Dynasty, so it was widely spread in the South, and it was possible for the craftsmen of the Southern Dynasty to design this exquisite Huteng dance pot. The Hu Teng dance style unearthed by Mahu in Baihe County is slightly different from the documentary records, except for the leap, there is no record of holding props, which should be the result of the Chinese nation absorbing foreign dances and transforming them, and the combination of foreign dances introduced into China and China's inherent gagaku (such as ganqi dance) has become a new type of dance art. At the same time, bands showing western instruments have also been discovered, and in Dian'an Village, Zhangtan Town, Hanbin District, a tomb in the first year of the Eastern Promotion Of Pingyuan (357), a portrait brick with a molded "riding and blowing" lineup has been unearthed, five slowly marching horses, sitting on five bearded people with deep eyes and high noses and full of beards, respectively, playing the flute (commonly known as long pipe, pipe pipe), pipe, horizontal flute and beating cymbals, these musical instruments with western characteristics have obviously been introduced to Ankang during the two Jin Dynasties. If there is music, there must be dance, the so-called "song and dance", the two have an inseparable relationship. It is not surprising that in May 1986, the archaeological team of the Ankang Hydropower Station excavated a set of brass plates of the Northern Wei Heping Second Year (461) in the Xiaola Candle Garden of The Eunuch Gutan in Ziyang. The band plate is an ornament tied to a leather belt around the waist, a total of six pieces were found, one of which is rectangular, on which a female maiko is cast, wearing a fringed beaded headdress, embellished with tassels, narrow cuffs, bare breasts protruding from the chest, in the wrapped streamer, the dancer raises his hands, sucks up his right leg, and stands barefoot on the circular dance carpet, spinning and dancing. The other five pieces are square, and the five people cast above are the music department, and the instruments are the lute, the sheng spring, the karma drum, the waist drum, etc. (one of the characters is hollow, and the instrument is unknown). All five of them are dressed in nonsense, with their chests open and their stomachs open, sitting cross-legged on a dance carpet, or playing, or blowing, and have different forms; there are people with high noses and deep eyes, beards and hair, and they struggle to play the lute; there are people with round eyes and two cheeks bulging, concentrating on blowing the pipes; there are drummers with high noses and deep eyes, tendrils hanging down their chests, and hearts that are not distracted; and so on. This kind of dance, according to Ms. Zhu Guangqin's book "Overview of Folk Dance Culture in Southern Shaanxi", said: "Compared with the "Hu Xuan Dance" figure in the north wall of Cave 220 in the Dunhuang Mogao Grottoes mural "Buddha Kingdom World", in addition to the difference in hand position, its clothing, shape, dance posture, etc., have a striking similarity. It is also very similar to "the 13 carved statues on the stone carved coffin bed of the Tomb of Sima Jinlong in the Eighth Year (485) of the Northern Wei Taihe (485) excavated in Datong City", so as to know that this dance is the "Hu Xuan Dance". "Hu Xuan Dance" is also a popular folk dance in the Western Regions, Bai Juyi's poem "Hu Xuan Nu" self-annotation said: "At the end of Tianbao, Kang Juguo offered it." "The kangju state is in the area of Samarkand in the present-day Uzbek Republic of Central Asia. In fact, this dance was introduced to China as early as the Southern and Northern Dynasties, and spread to the Ziyang Mountain at the foot of daba Mountain, and was identified by Bai Juyi more than three hundred years ago. Regarding the dance method of the Hu Whirling Dance, there is no more information on the situation during the Southern and Northern Dynasties except for the dance posture seen on the plate. Xiao Liangshi had a man named Zhou She who wrote a poem "Shangyun Music", and from the lyrics, it was known that there was a Western dancer named Wen Kang, who led a group of musicians and maiko to Jiangnan to perform songs and dances to Liang's imperial court, including the Huxuan dance. In the Tang Dynasty, this dance was very popular and loved by scholars. Bai Juyi's poem "Hu Xuannu" has a specific description of this: "Hu Xuannu, Hu Xuannu, the heart should be stringed, and the hand should be drummed." The strings and drums are lifted with a double sleeve, and the snow flutters back to the fluffy dance. Turn left and right tirelessly, when there is no time for a thousand weeks. Human things are incomparable, and the wheels are slow to whirlwind. "Compared with the whirling dance, the wheels that are running and spinning are too late." And as soon as you jump up, there are many circles of rotation, and you don't know how tired you are when you can turn left and right, and you can't guess when you can finish the dance" (Fei Bingxun, "The Wonders of Chinese Dance"). According to the Tang Dynasty Du You's "General Classic", the instruments accompanied by this dance are mainly various drums, including karma drums, positive drums, waist drums, cymbals and flutes, and pipas. It is basically attached to the musical instruments on the music and dance belt version excavated in Ziyang County. The discovery of this set of music and dance copper belt plates, whether from the aspect of music and dance, or the development and opening up of the Han River Basin during the Southern and Northern Dynasties, has aroused the interest of researchers at home and abroad, and some scholars in South Korea and Japan have cited it many times in their writings, believing that it is a witness to the introduction of Western dance into China and being absorbed and transformed by Chinese, and it is also a witness that the people of the Han River Basin have an inclusive attitude towards foreign culture, and from it they see the spiritual outlook of the Ankang people in the depths of the mountains in the depths of the mountains with a very broad mind and accept all foreign things. As scholars at home and abroad agree, although the maiko on the plate makes a Huxuan dance shape, the difference is precisely that the dancer raises his hands high to form a "tiger holding fist" dance posture, which was circulated in the "White Silk Dance Song" in the south of the Wei and Jin Dynasties, which once described the action of "White Silk Dance": "Light body Slowly lift He Yangyang, raise two hands of white crane to soar." It is like a dragon turning low, staring at the good looks and looking at the light, as if pushing and staying and walking, becoming sincere with the world. "The dance posture on the version is frozen, just like the image of the "White Dance Song". It is completely the southern Chinese white silk dance that is transformed into a more vivid dance shape by blending the Western Huxuan dance. The Hu Xuan Dance on the Music and Dance Belt version and the Hu Teng Dance on the Celadon Pot are both relics of the same period, and although the excavation sites are hundreds of miles apart, the dance movements reflected are very close. In addition to the typical Chinese sheng, there are more Western instruments. For example: Quxiang pipa, only introduced from Mesopotamia in Western Asia at the end of the Eastern Han Dynasty, the original shape was small abdomen, long and straight. The lute that Ankang saw was obviously transformed into a short and short piece, more suitable for carrying accompaniment. This instrument came from India, about the beginning of the Northern and Southern Dynasties introduced to China, the method of playing is horizontal rather than like today's vertical hug, just like what is seen on the belt plate, and later its shape has been continuously transformed, in addition to referring to the Chinese Ruan Xian to increase the column position, from four strings to five strings, the performance is also changed to hand playing, greatly enriching the playing skills, enhancing the expressiveness of the music. By the time of the Northern Zhou Dynasty, the Western Musical Instrument Pipe (觱篥) had been used as a tool to guide the way, and Li Qianzhe, a native of the Shannan Hao clan, who had ascended to the throne in the third year of Tianhe (568), led Jin (Zhou) Shang (Yong) and other states to Xiangyang, according to the Book of Zhou: "Qianzhe loves Hua luxury, can be generous and self-serving, concubines to a hundred, sixty-nine men and women, more than a thousand miles away from the Han River, the first house is second, the Ji people have sons, and each of them has servants and servants, and xiang Shouzhi." Qian Zhe guided every time he sounded, traveled back and forth, drank wine and swallows, and enjoyed the joy of life. "This kind of pipe is the pipe. It can be seen that Ankang people are practicing what they preach in transforming and using Western musical instruments.
Picture 1: Ziyang Eunuch Xiao la Candle Garden unearthed a piece of music maiko rubbings
Figure 2: Ziyang Eunuch unearths a rubbing of drum music tricks