Qianshan temple music

Name of China's national intangible cultural heritage: Qianshan temple music

Applicant: Anshan City, Liaoning Province

Item No.: 98

Project No.: Ⅱ - 67

Time of publication: 2006 (the first batch)

Category: Traditional Music

Region: Liaoning Province

Type: new item

Applicant: Anshan City, Liaoning Province

Protection unit: Anshan Cultural Tourism Development Promotion Center (Anshan cultural tourism market comprehensive administrative law enforcement team)

Introduction to Qianshan temple music:

Applicant: Anshan City, Liaoning Province

Qianshan's Buddhist music is divided into chanting and instrumental music. Instrumental music is mainly Sheng Guan music, and its music cards are mostly the same as those of Sheng Guan music in southern Liaoning. The traditional chanting tone belongs to northern rhyme, which has a long history, and its starting date is unknown at present. Northern rhyme is a kind of Qupai music, most of which are popular in Tang and Song Dynasties, such as wangjiangnan and guajinsuo. The northern rhyme of Qianshan Buddhism is not unique to Qianshan, but because it is located in the northeast, it is naturally influenced by the Northeast Folk Music in the process of spreading, forming a unique musical personality.

In the 1920s, some monks went to Yingkou, Changchun and Harbin to build temples, and at the same time brought the southern rhyme to the northeast. Since then, the southern rhyme has been widely spread in temples. Over time, fewer and fewer monks can chant the traditional northern rhyme in Northeast temples. Northern rhyme can be divided into Zanzi and Sanyun in terms of melody. The collection of Sanyun is basically complete, but Zanzi is rarely collected. It is estimated that there are no less than 80. At present, only about 30 have been collected, such as Doubao · tiantiantong, guajinsuo, wufangjie, etc.

At present, there are only a few Buddhist Sheng Guan music in Qianshan, most of which are lost, and only 20 pieces have been preserved so far, such as Luan Feng Ming, Tian Zun Yun, San Zhuan Yi, etc.

Qianshan Taoism adopts the new rhyme of northeast. Except Qianshan Taoist temple, all Taoist temples in Northeast use the new rhyme of northeast. At present, the new rhymes of Northeast China are basically intact, but some of the long rhymes are not used by most Taoists because they are rarely used, and some of them are now completely unknown.