Research On Musical Culture Of Northern Dynasties Tombs

The Northern Dynasties were very important transition period from Qin-Han and Wei-Jin dynasties to Sui-Tang Dynasties.In the regime fight and the establishment of orthodoxy and legitimacy,the Northern Wei Dynasty became the first minority regime in the authorized history in China,which resulted in promoting the multi-ethnic integration of the north and boosting the multi-cultural communication and integration.At the same time,musical forms also presented a new appearance.However,it was difficult for the music of the Northern Dynasties to come up to expectations in the compilation of Chinese music history.One of the reasons was diversification and complication,but the biggest obstacle of compilation improvement was the lack of ideology,perspective and material.In the present study the core material was the archaeological discovery of the tombs of the Northern Dynasties.A lot of tomb images were investigated based on the thinking of the fight of regime orthodoxy.The major form and the composition of music life of the nobilities in the Northern Dynasties was speculated.The ideology reserve and the promoting force of its development and enlargement were also speculated.Consequently,a communication bridge was constructed for the different musical form compositions between Qin-Han and Wei-Jin dynasties and Sui-Tang Dynasties.A new vital musical form came into sight,which was developed in the conflict and blending of the non-farming culture represented by the northern ethnics and the central plain culture.The study was composed of four chapters.The first chapter sorted out the tombs of music relics of the Northern Dynasties,finding that the tombs were built approximately around the capitals of dynasties and auxiliary capitals,which exhibited the characteristics of obvious identities and ranks.In the second chapter the existent states of music servants and frescos were described according to the difference of regime changes and existent forms.The quantity,the shape and structure,the basic content expression of the two historical relics were described based on the tomb reports.Afterwards the macro-viewpoints and the overall grasp of the tomb music of the Northern Dynasties were made,which were different from literature,because a plenty of historical relics provided the direct cognition of "history fields”and refreshed the historical existence.Therefore,the following two chapters were the explanation of historical literature based on the actual existence of historical relics,which was different from the explanation of history and philology.The reasoning logic from historical relics to the literature relies on the fact of "history fields",while the reasoning from literature to literature only depends on the theory and logic.Thus,the explanations were different.The third chapter described music servants of drumming and fluting since there were lots of music servants of drumming and fluting in the tombs.This phenomenon indicates that the existence of drumming and fluting in the nobilities of the Northern Dynasties was very common.In addition,there were two ways of expression-stand up and play,ride on a horse and play.In the investigation of the literature and the previous related history,it was found that the reason of the common existence of the phenomenon was the reward in the orthodoxy establishment of the regime.The tomb owners were all the nobilities at that time.In the combination of the epitaphs,the obtained information of the tomb owners was more than the recorded literature or supplemented the literature recording.Most of the tomb owners had feats.The highest ownership of drumming and fluting belonged to the emperor.According to the epitaph recording and literature search of big data,it was found that the form of drumming and fluting was only the reward for various behaviors and ceremonies.Although in the reward there were several forms of the match of drumming and fluting,it was very difficult to find other forms in the literature related to drumming and fluting.Furthermore,drumming and fluting followed the old system of Han-Jin Dynasties.In the orthodoxy establishment,it was clearly recorded in the authorized history that in the new regime only the names of the music of drumming and fluting were changed,but the melody was not changed.The forth chapter described a plenty of images of singing,dancing,drinking and acrobatics in musical images of the tombs,which corresponded to the nine ensembles,the ten ensembles and the Sitting and Standing Part Jiyue of the imperial Sui-Tang Dynasty palace.The abundant music forms described before appeared in Book of Sui,Old Book of Tang,New Book of Tang suddenly.It is not difficult to understand the sudden appearance if the understanding was based on the orthodoxy establishment of the imperial power and the regime.In the establishment of the new regime,the music form,which existed in fact and was originally excluded from the system of rites and music of the Confucian in the central plains,was given rightful names,obtained the recognition and the naming of the imperial power,and were recorded in the authorized history.It is obvious that this was the result of the gambling of different cultures,which expanded and enriched the music system of the central plains immensely.In addition,the contribution of the Soghdian must be mentioned for the sudden expansion of the conviviality system.The Soghdian stone coffins,which were unique and extremely fine,were excavated in the tombs of the Northern Dynasties.On the images of the coffins there is a kind of special dance,which is relatively common and called "Huxuan" and "Huteng" in the literature of Sui-Tang Dynasties.In literature screening it was found that the names were given by the descendants,but not used by the people of the time.They were contemptuous appellations of foreign dances given by the common people when the regime was obtained by the Han people again.Based on literature recording and images,the dances were a kind of dance which was jumping after drinking wine with strong emotions and relatively high skills.People in Chach,Kesh and Samarqand were all Kangju people which were mainly Soghdian.They were good at singing and dancing,business,and believed in Zoroastrianism.In the commercial intercourse,they improved the communication and integration of eastern and western cultures.The Huxuan girls who were good at dancing were offered to the central plains,which was one of source pathways of the new central plain music.Actually,the trivial historical existence of music construction of the Northern Dynasties was inevitable regarding to the turbulent and complicated historical period of the Northern Dynasties.However,whenever there are many explanations,the history should keep an eye on the reality.It goes without saying that the relation between the communication and integration of alien culture of the Northern Dynasties and the prosperity of musical culture of Sui-Tang Dynasties has practical significance.