A Research On Jiaofang And Literature In The Tang Dynasty

The main body of this article includes the introduction and seven chapters,the first three chapters are the comprehensive study on institutional culture of the Jiaofang in Tang Dynasty;the fourth and the fifth chapters are the study of the musical form of Jiaofang;and the sixth and seventh chapters are the research on the association of Jiaofang and literature.The summary of each chapter is as follows.The first chapter "The research on Jiaofang and related musical institutions in Tang Dynasty "includes three sections.The first section mainly differentiate and analyse with the ambiguity of various names of Jiaofang in the Tang Dynasty.The basic view is:the folk and pop musical Jiaofang and inner Jiaofang and outward Jiaofang are the three-in-one pattern,because of the decline of Wude inner Jiaofang,there is only one inner Jiaofang during Kaiyuan.The pattern of the trinity is the result in a variety of reasons.The second section mainly analyzes on Liyuan's position and the organization of the music of the in the Tang Dynasty,as well as the relationship with Jiaofang's.We think that the location setting of the Faqu Liyuan and folk inner Jiaofang should be in the same placed:the Darning Palace East Court during Kaiyuan and Tianbao.There is musical integration,penetration and interaction in the official cooperation between the folk Jiaofang and Faqu Liyuan.In the late Tang Dynasty,the eunuch forces gradually expanded,Xuanhui institute became an important presenter of the court musical affairs,affecting the musical activities of Jiaofang and Liyuan,so the third section of this chapter is the relationship between these institutions.The second chapter "The study on the Jiaofang's officials and related issues in Tang Dynasty"includes three sections.The first section mainly provides an overview of the level,function and characteristics of the Jiaofang's officials among the literature handed down from ancient times,In the second section,the author analyzes some problems in the study of predecessors,and uses the new epitemics to supplement the deeds of the officials and their family,as well as further perfect the law of the officials setting in the Tang Dynasty.In addition,combined with the new artifacts displayed in the epitaphs and their related musicians' living square,we summed up the law of Jiaofang's staff activities in the spatial distribution.There is a supplementary study on the Liyuan officials in the third section.By the new epitaph called Cao Qianlin as the student of Liyuan,we demonstrates the early teaching-learning characteristic named"emperor princess teaching mode".According to Dou Yuanli as a chief of Liyuan-Jiaofang during Tianbao years,we sort out the special form of professional confluence for Liyuan and Jiaofang's officials in the transition period.The third chapter "A textual research on Jiaofang in Tang Dynasty:Centered on Mei county Jiaofang" is mainly taking the special case of Mei county Jiaofang to inspect the local Jiaofang related issues in Tang Dynasty.There is a "central-local" integrity of Jiaofang system in Tang Dynasty,because of the study on local Jiaofang is subject to scarcity materials,so there has been no breakthrough.By sorting out the local chronicles,we found Mei county Jiaofang village as a place name,which dates back to the Song Dynasty or earlier.Combined with the literature on the relevant records of Emperor Xuanzong visitting Mei county Fengquan and Huaqing Palace in Mount.Li hotsprings during Kaiyuan years.Compared to institutions of the temporary imperial Jiaofang belongs to the Huaqing Palace,we deduced this kind of possibility of Mei county Fengquan hotspring also has set up with the same institutions as Huaqing Palace,while Mei county Jiaofang village is the memory of this historical remains in music.At the same time,by analyzing the proper nouns of the Prefectural Jiaofang,we believe that the local Jiaofang at least set up to the county-level in Tang Dynasty.In addition to the Mei couty Jiaofang,there are similar institutions as Jiaofang in prefecture of Jingzhao is located in Xuanping Square,Jiaofang in Wenxi county in prefecture of Hezhong,Jiaofang in Heyang county in prefecture of Henan.The relics of these prefectural Jiaofang not only provide us with the form of the local Jiaofang system of the Tang Dynasty,but also provides threads of the local music groups formation mechanism for us in the Tang Dynasty.The fourth chapter is the study of the Four Music organism form of Jiaofang in Tang Dynasty,which is the discussion of the inner forms of music of Jiaofang in the Tang Dynasty.The first section analyzes the problem:what is the Four Music organism form of Jiaofang?This issue has a lot of controversy,We are in favor of this argument of the Four Music organism form of Jiaofang including Hu music,Yunshao music,the music of Qiuci and Gujia.The process of Yunshao music became into Four Music organism form of Jiaofang is more complex.This kind of circumstance is the result of trading off and taking turns of gagaku and folk music,which is the key point of promoting on.The second section of the study of the origin of the Four Music organism form of Jiaofang in Tang Dynasty,we think that it come from Taichang Four Music organism form as a complete set of instruments and combination of working clothes.After the chaos of An Lushan,Taichang Four Music organism form has been lost to a large extent.Because of the opportunity to Biao and Nanzhao kingdom offered music,the new Taichang Four Music organism form can be rebuilt,however,its decline trend is inevitable.Benefit from the social trend of thought and the emperor likes and dislikes,Jiaofang develop rapidly in the late Tang Dynasty,as well as the gagaku and folk music concentrate mainly on Jiaofang,which even gradually evolves into the extreme conditions in the appearance of Tiebu Jiaofang to the end of the Tang Dynasty.The third section mainly describes the specific useness of the situation of Jiaofang Four Music organism form.According to the situation of Jiaofang Four Music organism form in Song Dynasty,we can be speculated that the specific arrangement and performance in Tang Dynasty.In the process of development of Jiaofang,Hu music becomes a single phenomenon,resulting in the other three as a foil.This is the epitome of the development of musical culture in the Tang Dynasty.The fifth chapter"The study of the literary activities of Prince's Palace and the Jiaofang music in Tang Dynasty";according to the main clue of the Jiaofang musical activities in Prince's Palace,we discuss the spread of musical culture of Jiaofang from top to bottom,from the inside out,and the influence of Prince's Palace space field on the literature and art of Jiaofang.The Prince's Palace is another center of gagaku and folk music activities in Tang Dynasty,the establishment of folk Jiaofang is actually the evolved from the Emperor Xuanzong's old Prince's Palace.After the establishment of the Jiaofang,The Emperor Xuanzong on the implementation of the twine policy directly exacerbated the footsteps of music of Jiaofang into the Prince's Palace.Princes can feel the charm of Jiaofag,not only in the inner court but also in Prince's Palace through the imperial reward,the whole process can be seen as a cultural transition of Jiaofang music from the court toward the folk.Prince's house is an important literary field in Tang Dynasty,and it is also an important environment for the formation of Jiaofang music.The creation of the song named"Cupaixiangfuliang" is a classic example.This article makes a preliminary exploration from the perspective of the theory of melody.The sixth chapter is "The study of the commercial Jiaofang and drinking prostitution literature Chang'an and Luoyang".In the perspective of space,we mainly discuss the related problems of music activities and prostitution literature in this chapter.ln the late Tang Dynasty,Jiaofang begained to the process of commercialization,and prostitutes in Beili of Pingkang square"Native place belongs to Jiaofang" is a direct description of this phenomenon.The formation of the "prostitutes in Beili" is related to the special location of Pingkang square.Relying on this space,there is the popular literature flourishing situation about the formation of vulgar,song words,poetry and writing,legend and other elegant,where is the most active area of Chang'an literature.Relatively speaking,Luoyang's drinking prostitution culture is more dispersed.There are roughly main entertainment center,one is to north of Luo water,North Market as the center;the second is the south of Lou water,"Mingyifang-West Market"as the axis;the third is the south of Lou water,South Market as the center.Luoyang did not develop a similar entertainment space as "Beili" in Chang'an,but only some of the activities of the prostitutes and the distribution of literati prostitutes,or can see its close relationship with the commercial market,which can be seen as a kind of supplement to the commercialization of Jiaofang in the late Tang Dynasty.The seventh chapter:study on the generating patterns of the Jiaofang songs in Tang Dynasty:Taking "Wu Xuzi" as an Example.There is an overview of the source of the tune,the creation of the law,the form of music using of Jiaofang songs.Combined with specific cases,we summed up some of the rules of the formation of the generation of Jiaofang songs:First,the original story of Jiaofang song should develop the ability to adapt to the theme of poetry and selection;Second,there would be a coincidence with the original story of Jiaofang song and the content of the selection of poetry;And the lyrics of Jiaofang in poetry and style should match up to Jiaofang song.ln the second section,the rule of the generating patterns of the Jiaofang songs in the first section is implemented in the specific case."Wen Xuzi" song could be created by the famous Sujiang monk named Wenxu in Tang Dynasty literacy,whose life is rich in legend.Combined with the handed down literature and the new epitaphs,we make a detailed exploration to the his life deeds,as well as,paved the creation of cultural background for the "Wen Xuzi" of Jiaofang.The integration of the handed down literature and Dunhuang folklore information,we further added the generation process and lyric,tune features of "Wen Xuzi" song from the folk to the court,and the situation of development and circulation for the future generations.ln general,we restore the historical form of the "Wen Xuzi",whose process of creation and circulation is the model of the pattern of learning style for the other Jiaofang songs.