Daoist Music
01 · Historical Records
The ritual music of the Shangqing zongtan zhaijiao ceremonies of Maoshan historically enjoyed the status of “national zhaijiao” (see the Maoshan Zhi of the Ming dynasty); its content consists mainly of praise of the Three Maoshan True Lords, of the principal masters of the Shangqing school, and of the perfected Zhenren of successive ages. In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music. Its instrumental tune patterns play an important role in the various stages of the ritual (opening the court, linking, filling the interval, closing the altar and so on), setting off, transforming, regulating and running through the proceedings; they complement the chanting of scripture and hymns and display the integrity of their own structure. Maoshan Daoist music has a long history; in the course of its formation and development it absorbed and merged elements of traditional music from the Eastern Jin and the Southern and Northern Dynasties through to the Tang, Song, Yuan, Ming and Qing.
02 · Core Techniques & Process
Maoshan Daoist music is traditional music whose core area of circulation is the Maoshan Taoist Monastery in the Maoshan Scenic Area, Jurong City, Jiangsu Province. The area covered by this heritage project includes Nanjing, Suzhou, Wuxi and Changzhou in Jiangsu Province, as well as Zhejiang Province, Anhui Province and Shanghai. Maoshan is a famous mountain of Daoism in China, long honoured as the Eighth Grotto-Heaven and the First Land of Blessing. Its many yunqiang melodies each have a character of their own, and those with the greatest influence are the San Mao Biao and the San Mao Chan. Together with the morning and evening lessons and the music of other zhai rites, the repertoire of Maoshan Daoist music totals more than 100 pieces (of which more than 70 are scripture chants and more than 30 are instrumental tune patterns). Its chanting takes such forms as zan, ji, zhou, song, fu, gao and yin. The words of the chants continue the prosodic tradition of ancient ci and fu, using for the most part four-character and six-character lines and the form of repeated stanzas and lines, while also accommodating mixed line lengths. Its melodies are characterized by broad sweeps and rises and falls within slow, drawn-out tones, their flavour lying especially in the use of many grace notes; the introduction of some free-metre recitation gives them a marked rhythmic character reminiscent of Tang and Song music. Every year the Shangqing zongtan zhaijiao ceremonial activities are held during the prescribed incense periods and on the birth days of the various deities.
San Mao Biao
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Wei Ling Zhou
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Sheng Ban
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
San Mao Ci
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Hua Xia Zan
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Xun Biao
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Kai Tian Fu
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Xiao Li Jing
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
San Mao Chan
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Xiang Zan
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Bu Xu
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Zhixin Chaoli
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Sheng Hao
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Sanmao Gao (Proclamation of the Three Maos)
Sanmao Gao is one of the comparatively canonical yunque, or chanted-verse, pieces of Maoshan Daoist music, and it occurs in two distinct places in the daily offices. In the midday ritual Sanmao Biao it belongs to the closing observance, alongside Xiaoli Jing; and in the Sanmao Chan, one of the early and evening offices, it is sung in the sending-off of the penitential rite together with Huixiang He and Huixiang Wen, following Xiang Zan, Buxu and Zhixin Chaoli at the opening of the rite and Shenghao at the bowing. The same midday ritual also draws on Weiling Zhou and Shengban in the opening of the altar, and on Sanmao Ci, Huaxia Zan, Xun Biao and Kaitian Fu in the statement of vows. In performance the instrumental tune-pieces of the association fill, connect, sustain and punctuate these rites, heightening and regulating the mood while setting off the chanted recitation, and the proclamation text follows the old metric habits of verse and rhapsody, built chiefly on four- and six-syllable lines with repeated stanzas, its distinctive flavour lying in the drawn-out delivery and in the way the many particles of the text are stressed.
Hui Xiang He
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
Hui Xiang Wen
In the noon court ceremony, the Wei Ling Zhou and the Sheng Ban and the like in the “opening of the altar” of the San Mao Biao, the San Mao Ci, Hua Xia Zan, Xun Biao and Kai Tian Fu and the like in the “stating of the vow”, the Xiao Li Jing and the San Mao Gao and the like in the “closing rite”; and also in the morning and evening court ceremonies, the Xiang Zan, Bu Xu and Zhixin Chaoli in the “opening of the repentance” of the San Mao Chan, the Sheng Hao in the “bowing in repentance”, and the San Mao Gao, Hui Xiang He and Hui Xiang Wen and the like in the “sending off of the repentance” — all of these are comparatively classic yunqiang pieces of Maoshan Daoist music.
03 · Regional Records & Related Items
The ritual music of the Shangqing zongtan zhaijiao ceremonies of Maoshan historically enjoyed the status of “national zhaijiao” (see the Maoshan Zhi of the Ming dynasty); its content consists mainly of praise of the Three Maoshan True Lords, of the principal masters of the Shangqing school, and of the perfected Zhenren of successive ages; its chanting takes such forms as zan, ji, zhou, song, fu, gao and yin, and the words of the chants continue the prosodic tradition of ancient ci and fu, using for the most part four-character and six-character lines and the form of repeated stanzas and lines, while also accommodating mixed line lengths.
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04 · Cultural Value & Contemporary Safeguarding
Maoshan Daoist music is transmitted by oral teaching from master to disciple, and the Maoshan Taoist Monastery strictly observes the tradition, practising the morning and evening lessons of the Shangqing zongtan every day. The survival of this heritage project is of significant importance for the study of the formation and the development history of Chinese Daoist music, and for the study of the mutual influence between religious music, court music and folk music. He Chunsheng (recorded in the official file of the associated inheritor): Male, of Han nationality, born in October 1962, native of Jurong City, Jiangsu Province. He has devoted himself to collecting, collating and studying materials on Maoshan Daoist music, and edits the periodicals Jiangsu Daoism and Maoshan Taoist News. He has repeatedly been invited to Hong Kong and Taiwan and to countries such as Singapore and Malaysia to perform Daoist rituals and to play Daoist music. Representative inheritor of Daoist music (Maoshan Daoist music) of the fifth national-level batch of the intangible cultural heritage projects. In the more than thirty years since he entered the monastery he has devoted himself wholeheartedly to the performance and the transmission of Maoshan Daoist ritual and music, and over the past ten years has trained more than ten inheritors of Maoshan Daoist music.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Zhang Yubao 03-0894
- Li Manshan 03-0895
- Shi Jitong 03-0896
- You Wuzhong 03-0897
- Zhang Minggui 03-0898
- Wu Bingzhi 04-1537
- Feng Yingzhan 05-2153
- He Chunsheng 05-2154
- Wu Lixun 05-2155
- Zhan Heping 05-2156
- Zhang Jintao 05-2157
- Huo Dezhong 05-2158
- An Baohui 05-2159
- Wu Huyong
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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