| For the first time in the field of Chinese music history research, this article introduces the research ideas and research methods of musical instrument typology on the ancient Chinese pipa’s evolution. On the basis of the definitions of instrument type and humanistic type, the article makes a systematic analysis of the type characteristics, playing methods, variation of types, as well as humanistic presence.Regarding the variation of type, pipa’s soundbox, handle, relation between the soundbox and the handle, and neck are in turn major features for identifying the shape and structure of pipa and its evolution. The variation of string number is rather an important concept for distinguishing between the sub-types in the description system of literature than a basis for type categorization. In light of complexity of type characteristics, this article introduces 4 groups of variables including the width, length, curvature, and size, and gives definitions of them. In term of logical relation: Round-soundboxed straight-handled pipa and pear-shaped pipa are the primary types of pipa during the Han Dynasty and Tang Dynasty. The sub-types of round-soundboxed straight-handled pipa include long-handled and short-handled pipas. Based on the regional music cultural elements among others, the long-handled pipa type is sub-divided into type I and type II. Under type I, there is a type of round-soundboxed trapezoid-long-handled bent-necked pipa. In the concept description of literature, type II is regarded as the predecessor of the Ruan Xian pipa in the Tang Dynasty. Among the sub-types of pear-shaped pipa, there are short-handled and long-handled types, under both of which there are straight-necked and bent-necked types. Under the short-handled straight-necked pipa type, there are 5-stringed pipa and non-5-stringed pipa. 5-stringed pipas and short-handled bent-necked pipas of the next higher level can respectively be divided into broad-pear-shaped, narrow-pear-shaped and small-pear-shaped pipas. In fact, the evolution of Chinese pipa does not absolutely follow a single linear model of development. Set in the time and space coordinates, the dissemination and evolution of its types are influenced by the 4 factors of nationality, culture, history and region, representing a multi-directional and complex development trend. Therefore, the article combs the types and sub-types in the context of changing time and space. When referring to the names and real objects of antiques and literature and their meanings, taking into account of the shape and structure and humanistic factors, the article also introduces 2 groups of one-to-one corresponding key words, namely, "Xiyu(the Western Regions) pipa" vs. "Han pipa", and Qiuzi pipa vs. Tang pipa.Regarding the origin: It is the typical round-soundboxed long-handled type II pipa described in Ode to Pipa by Fu Xuan, which is the predecessor of Ruan Xian pipa, and the mainstream type of Chinese pipa during the period of Han, Wei, Western Jin and Eastern Jin Dynasties. It was created and finalized in the Hexi Region. The Hexi Region boasted diversified cultural conditions that could influence the finalization and development of pipa, and a socio-economic environment that was able to produce entertaining pipa music culture. The special Han cultural soil in this region soon produced the Ruan Xian pipa, which drew on the shape characteristics of pipa in more western regions and set its root in the Han cultural thinking. Scholars of the Wei and Jin Dynasties were the main users and appreciators of this type of pipa during this period.About the dissemination: On the basis of regional music cultures, 4 schools of pipa came into being during the Han, Wei and Northern and Southern Dynasties period: the pipa of Qiuzi Region, pipa of Hexi Region, Donghu pipa and pipa of the southern region of the Southern Dynasty; 3 obvious main lines of distribution: The first existed between Qiuzi and Liangzhou during the Han and Wei dynasties; the second extended from Liangzhou to a few areas of the northern part of the Central Plain during the Western Jin and Eastern Jin Dynasties and Northern and Southern Dynasties; the third was the migration of Han music culture to the South. The pipa and pipa music culture of the mainstream society of Sui and Tang Dynasties on the whole inherited those of the Northern Dynasties. Its composition includes the origin of Qiuzi pipa from the Western Regions, tradition of pipa music of the Liangzhou region, elements of Hus’ music customs of the North of the Northern Dynasties, and inheritance of the Qingshang music culture from the South of the Southern Dynasties.About the playing methods: Combed from the angle of mutual proving of literature and cultural relics. This part makes discussion on association between the 3 typical pipa music styles of the Tang Dynasty and the methods of playing with fingers, playing with big plectrums, and the Tang style finger playing.Hanization and variation: The ancient Chinese round-soundboxed straight-handled pipa and pear-shaped pipa evolved into the Ruan Xian and pipa in the Tang Dynasty after the development through the Han, Wei, Western Jin and Eastern Jin, and Southern and Northern Dynasties, both involving Hanization. The series of projects of Hanization of the former type led to the following results: The instrument has both its name and physical form with scholars participating in naming it; its origin is directly connected with “xian‘gu”,highlighting its origin from the traditional Han music; the vertically held Ruan Xian style finger playing method was thence departed from the horizontally held big plectrum playing method, thus the two playing styles were created; highlighting the scholar music feature inherited from the scholars of the Wei and Jin Dynasties, it gradually faded out of the royal court entertaining music cultural atmosphere, and preserved its reputation as an important participant of the "Qingshang Music", which is the orthodox Chinese music, which was usually performed in the gathering of scholars, thus achieving the cultural orientation of "The elegant music comes from the room of orchids, meditation is made in the bamboo forest". In general, the process of Hanization of pipa can be regarded as "reincarnation". As for the latter type, the sedimentation of of Hu music culture of the Northern and Southern Dynasties and Sui and Tang Dynasties was accomplished in the Tang society and established a new pipa music culture center during the process of full assimilation, which radiated towards other regions in space and deeply influenced the development of Chinese pipa of later generations. Therefore, its process of Hanization has actually the feature of "making foreign things serve China". |
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