A Study On The Evolution Of Pipa In Tang Dynasty And Its Transmission To East Asia

Tang Dynasty is the most prosperous time in China's feudal era of great unification,whose politics,economy,nationality and culture are characterized by diversification generally.The corresponding musical culture of Tang Dynasty also presents a colorful and diversified trend,leaving numerous musical heritages which significantly contributes to the later generations.As one of the most iconic products of musical culture in Tang Dynasty,pipa,whose development has a history of more than two thousand years,is not only the product of the integration of Yellow River Culture and other cultures,but also the embodiment of the open and inclusive policies from Tang Dynasty towards its various fraternal nations.Taking the pipa of Tang Dynasty as the main research object,this paper will do several researches with different depth and acquire more systematic cognitions in multi-aspects of pipa in Tang Dynasty,focusing on its types and forms,postures and means of performance,applications and music of pipa,as well as the musical culture spread and development track of the Tang Dynasty pipa which diffused from ancient China to the further eastern Asia,such as Korean peninsula and Japan.This paper comprises four aspects to carry on the research.The first chapter states types and shapes of pipa in Tang Dynasty.Analyzing Qin Hanzi,Moon Guitar,QuXiang pipa and three-stringed pipa,as well as five-stringed pipa respectively,the author takes ancient books,ancient frescoes and various unearthed cultural relics as evidence and then analyzes and sorts out the historical origins and shape characteristics of the five types of pipa involved.The second chapter expounds the holding postures of pipa in Tang Dynasty.The playing technique was changed from plucking to thrumming,which enriched the expressive force of pipa.The author divides the holding postures of pipa in Tang Dynasty into three categories: horizontal holding,oblique holding and vertical holding,and then subdivides them into five holding postures.The third chapter describes applications of pipa in Tang Dynasty in palace and folk.The first part introduces the use conditions of pipa in Tang Dynasty in Palace banquets,including various forms of instrumental ensemble of pipa.The second part describes about the application of pipa in town music and the class of scholars.The third part introduces pipa musicians.The fourth chapter presents the development and spread of pipa in Tang Dynasty in East Asia.From the perspective of cultural exchange and diffusion,this chapter discusses the types of pipa in Tang Dynasty introduced to the Korean Peninsula and Japan,as well as the development of localization after Eastern transmission.The far-reaching impact of musical and cultural exchange on future generations is further elaborated through a discussion of ancient documents,illustrated artifacts,and the pipa in Tang Dynasty in the frescoes and the pipa collected in the shosoin.