On The Tune Of Buddhist Dancers In Tang And Song Dynasty

Pu Sa Man (The Tune of Buddhist Dancers) is the general appellation of Buddhism culture and exotic culture. It is at first an identification of foreign status, and gradually becomes the designation of music and dance. Nevertheless, the Buddhism Dances have vanished by the reason of music house reform, political chaos, and the suspense cultural communication hence the Tune of Buddhist Dancers turned into the designation of songs. The popularity of lyric composition by literati resulted that the component of lyrics override tune and that lyric separated from music to be a independent type of classical Chinese poetry--Ci. Thus, the Tune of Buddhist Dancers evolved into specified name of poem tune. The Tune of Buddhist Dancers conserves the characteristics of pentasyllablc (or five-syllable) regulated verse and septasyllabic (or seven-syllable) regulated verse in the early and flourishing period of Tang Dynasty, while the music of Buddhist Dancers Tune is still closely related to Buddhism. After the modification of literati, the Tune of Buddhist Dancers is gradually refined and transformed from banquet lyrics into expressing emotions and aspirations during the Middle and Late period of Northern Song Dynasty. After the Southern Song Dynasty, it has already become a trend to chant substantive content by the Tune of Buddhist Dancers. The refinement of the Tune:Buddhist Dancers is not divorced from its the internal relationship of Buddhism music in the cultural tradition perspective; nor its extension of theme could be totally separated from traditional theme in the cultural structure perspective.The study on the Tune of Buddhist Dancers begins from its denomination, which refers to a description of exotic ethnic groups by Chinese Han nationality. The Tune of Buddhist Dancers is introduced into ancient China by two ways:introduced from northwest path to Chang’an with the evidence of lyric literature unearthed in Dunhuang, the first one is spread by the form of ancient Indian music and dances and later the form of songs after its prevailing; the second time is introduced to the Central Plains from southwest path in the form of Piao Kingdom music after the18th of Zhenyuan Year, which promote the further integration of Buddhist Tune into Chinese culture on the former basis. The Buddhist Team Dance is also formed. Except for a certain part of similarity in music and costume, the Buddhist Team Dance and Indian Musical Dance has already been Chinesenized.The Tune of Buddhist Dancers study is based on the literature of Dunhuang songs, Huajian Anthology, and Zunqian Anthology. The Dunhuang version of Tune:Buddhist Dancers is a chant transcription of folk lyrics with the features of random format, broad theme and wide content, and simple style. As the initiator to take poem as Ci, Wen Tingyun’s fourteen Tune:Buddhist Dancers is the laureate poem in Huajian Anthology, in which Wen vigorously commend the melancholy mechanism of poetry images in creational experience that laid lyric foundation of Ci poem. Zunqian Anthology is compiled in the early Northern Song Dynasty when the ci creation is in a dreariness and downturn. Due to the vulgar content, sagging style of Ci as well as boundary confusion between Tang poem and Song Ci, the writers of Ci urgently called for the formation of Ci format in order to realize the independent value of Ci type. The discovery and reorganization of Tune:Buddhist Dancers by Li Bai is essential to the rising of Song Ci. The compositions by monarch and celebrity are listed in the preceding parts which promoted the reputation of Ci, while the Tune of Buddhist Dancers and the Tune of Recollecting Qin’E by Li Bai are praised as the first in ancient Ci history.The historical study of Buddhist Dancers Tune target at the works of Tune:Buddhist Dancers in the two Song Dynasty, with the two major masterstrokes of taking Tang poem as Ci and the refinement of Ci, and focused on the content and style analysis of Ci works between Yuanyou literary school and Nandu literary school. The peak of Ci creation in Northern Song Dynasty comes in the Yuanyou years when Su Shi stepped into literary world by the prominent characteristics of increasing amount, high responsorial frequency, broadening theme scope, and numerous repetitive materials by the Tune of Buddhist Dancers, which indicates the frequency of tunes is affected by literati of Ci groups. The imitation and reference of material and them in the same environment will produce a popularity of certain Ci tunes in a certain period. The refinement of Tune:Buddhist Dancers in Southern Song Dynasty is succeeded from the Northern Song Dynasty by separate from music creation. The traditional engagement of sound and emotion into lyrics has already transformed from audition into vision by the rhythm and metrics of text. In the meantime, the enlargement of themes with substantantial chant also creates ideological condition for the refinement.The study of Buddhist Dancers Tune culture is established in the Buddhism culture and palace culture cradle of the Tune of Buddhist Dancers and is in-depth analyzed on some frequent themes. The feminine culture of Buddhist Dancers Tune is presented by songs and dances performers, in which is not ignore approaches of releasing psychological sexual depression nor the theory of metaphorical and expressing rhetoric, but mostly the paronomasia of showing literary talent in banquet performances. The chronological culture in Buddhist Dancers Tune depicts traditional calendar periods and seasons for the specialty of seasonal scenery and an integrative beauty of calendar circulation, which is correlated with the classical melancholy of spring and autumn seasons by feminine dolorous emotion. The flower culture of Buddhist Dancers Tune mainly discuss on the plum culture, laurel culture and lotus culture. People in Song Dynasty value most in aspiration while the plum culture is the most outstanding one in the personality of the Tune of Buddhist Dancers. The chant of plum in the Tune is expressed for illustrating the spirit and character of plum. The perfect combination of the Tune and plum culture is that the nostalgia tradition in the Tune of Buddhist Dancers is naturally coincident with the home garden complex of plum.This study focus on the development of Ci tunes so that the public track of Ci is showed in the historical development. The Tune of Buddhist Dancers carries commonness in the history of Ci tunes development as well as its unique features. The perfect transformation of the Buddhist Dancers Tune in arts of dance, music and literature, etc. caused the durability in Dang and Song Dynasty. The several transformations of Buddhist Dancers Tune are successful for the crucial factor of the Buddhism music beyond it, which is the soul of Buddhist Dancers Tune. Religion brings the most original momentum in art creation of human beings, so as the fundamental orientation of human arts.