1, Chen Si Wang Yushan created Bai Fan.
The earliest Bai Fan in China originated in Yushan, the birthplace of Chinese Buddhist music. In the fourth year of the Three Kingdoms Taihe (AD 230), Chen Caozhi visited Yushan and felt the deity of Yushan. Therefore, the Prince Ruiying Benqi was deleted, and the ode to the Prince (today's ode to bathing Buddha) and the ode to the Sui Dynasty were started, while "there are more than 3,000 Confucian scholars, about 42 of them", and it is said that there are six covenants. After Zhiqian, Kang Senghui, Mi Li and Yi Yunzu Chen Shu Wang Si, famous monks and nuns such as Bofaqiao, Tan Zhi Yike, Tan Qian, Monk Argument, Hui Ren, Xiaoliangzi and Liang Wudi advocated the inheritance and development of complexity, which flourished in Qi and Liang Dynasties and became popular in Sui and Tang Dynasties.
2. The development of Brahma in various historical periods.
(1) Introduction of "Hu Bai".
Since Buddhism was introduced into the Three Kingdoms, some eminent monks from India and the Western Regions spread and translated Buddhist scriptures in Han, and also brought Buddhist music from India and the Western Regions. The wise and modest Yueshi made three deeds of "Ju Lian Bai Fan Bodhisattva" according to the Infinite Life Sutra and the Benqi Sutra. The Buddhist Association also wrote this song, and passed on the Voice of Mud White. In addition, Doro, who made "Three Things of Lingyun", is also a native of the Western Region. Yue Shiren supported the "new sound and beautiful Sanskrit sound" in the south of the county, and passed on the "six-character Sanskrit sound" to future generations. "The original husband by years, clip translation hanting. There are some (French) orchids in the north, which begin to stand tall and straight and announce; The Southern Wei (Kang) Monks Association, Yang Lai satirized (Song Zanning's Biography of Song Monks) that Brahma IV they passed on should be a Buddhist song in the western region style. However, these foreign "Hu Bai" did not spread widely.
(2) The "Bai Fan" initiated by King Chen Si is a special name in Chinese for Standard Tone and Tone Buddhism.
Bai Fan's earliest creator in China was Cao Zhi, that is, Wang Si Chen in the Cao Wei era. He tasted Fish Mountain (a fishing mountain, now Axian County, Shandong Province) and smelled a kind of white fan sound in the air, which was clear and piercing. He listened carefully for a long time and had a deep understanding. This is a copy of its syllables. According to Ruiying Benqi Sutra, it was written as Bai Fan, and the article was made into sound, which was later. Brahma has six chapters, and it is the Fish Mountain Brahma (also known as the Fish Mountain Pagoda, see Zhu Lin in Fayuan Temple). [Tang] Stone Taoist wrote Fa Zhu Yuan Lin for thirty-six years, saying, "Every time you read Buddhist scriptures, you have to wander around and play, thinking that the supreme Tao is also the ultimate. Then the system turned to praise seven times, and the ups and downs of the voice were tortuous. The world laughed, salty and solemn, tasted the fish mountain, and suddenly smelled the Sanskrit in the air. It is elegant and sad, vivid and lonely for a long time, and the servants listened to it, deeply impressed by the gods and suddenly realized the statutes. It is to copy its sound segments, write them in Brahma, and express them after writing them. Brahma's voice is famous here. " Xie An lived in Huiji, where he fled with Wang Xizhi, Levin Xu Xun and Sang Men. When you go out, you catch mountains and rivers, but when you enter the door, you say that you belong to the text and have no intention of dealing with the world. " From this point of view, "Cao Zijian traveled to the fish mountain and heard the sound of the rock valley, and wrote Bai Fan Pu, which should be the beginning of Oriental Bai Fan". Biography of monk Shi Huijue. Shi San Jing Shi Hua said: "Wei and Wang love their songs, feel their voices, cover their voices, and feel the deity of fish and mountains. Therefore, they compiled the book Ruiying Benqi, thinking that the Confucian School spread more than 3,000 kinds of voices, and 40% of the contracts. "There is another cloud:" In the past, praise and white were all rhymed, and five people violated the customs, so it was better to use music. The origin of Brahma also originated in Chen Si. It started with an ode to the prince and an ode to her. Because the voice is controlled, the breathing is restrained, and the law is given by God. Today's Emperor Gu Wei built it. "
Cao Zhi matched the musical melody with the Sanskrit rhyme and pronunciation of Chinese characters in poetry, making the chanting of Buddhist scriptures seamless, and "it is more important to have both sound and text". The method of combining Sanskrit pronunciation with the new system of fu solves the problem of reciting Chinese in Sanskrit and satirizing Sanskrit fu with Chinese songs.
(3) The historical development and inheritance of Bai Fan.
With Cao Zhi's experience, monks in past dynasties began to try to further adapt Buddhist songs or other innovative songs with China folk music, so that ancient Indian Bai Fan music was gradually combined with China traditional culture, and Bai Fan embarked on the road of prosperity and development. Later, Zhi Qian, Kangsenghui, Mi Li and other eminent monks combined China folk music with orthodox literature at that time, and created and initially formed a Chinese Buddhist music system-Bai Fan, China. During the Qi and Liang Dynasties of the Six Dynasties, Buddhists began to absorb folk literary forms (such as "reading" and "singing"). This is an important period for the development of Bai Fanjiao in China. Yuefu Miscellaneous Songs (volume 1978) contains 12 pieces of Fa Shoule composed by Qi, each of which has five words and eight sentences, eulogizing the life story of Sakyamuni. Judging from its vocal system, it is undoubtedly sung with this kind of white sail.
During the Sui and Tang Dynasties, Buddhism not only prevailed in popular music (chanting scriptures, Buddhism), but also gradually spread to Han due to the development of transportation in the western regions. In addition, there are Buddhist songs introduced by Bai Fan from other Buddhist countries, and some Bai Fan are also used by the court Yuefu, which have had an important impact on the development of Bai Fanjiao in China. It can be said that China and Bai Fan have entered a glorious period since then. Yang Chen's Le Shu contains Hu Diao (volume 159), which records the Bai Fan used in Yuefu in Tang Dynasty, including Puguang Buddha, Maitreya Buddha, Sun Guang Buddha, Dawei Buddha, Tathagata Tibetan Buddhism, Sakyamuni Buddha, Shidi Buddha and Guanyin. The extant materials of Buddhist songs and praises in Tang Dynasty include Ode to Pure Land for Good Guidance, Ode to Samadhi Road in Ming Sutra, and Ode to Five Meetings of Pure Land by Law. The tune used should still be Bai Fan's tune, and the popular variant in the Tang Dynasty is also Bai Fan's rhyme. The Buddhist songs of the Tang Dynasty contained in Dunhuang manuscripts have many tones, such as Siddhartha Tan Song, Biography of the Wugeng, Twelve o'clock and so on.
During the Song and Yuan Dynasties, instrumental music was very popular in China, and Buddhism also used this popular form to support buddhas and bodhisattvas, so as to get close to the people and receive more Buddhist believers. At the same time, it also absorbed a large number of folk tunes and qupai from north and south, and temples around the country successively produced Brahma with local characteristics. However, it is mainly the difference between North and South. The influential book Ode to the Names of Buddha and Bodhisattva in the history of Buddhist music is full of various tunes in the north and south. This book has 50 volumes and was compiled in the 15th to 18th year of Yongle in Ming Dynasty (14 17- 1420).
(4) Bai Fan spread to Japan and South Korea.
During the Tang Dynasty (804-850), Japanese monks such as Konghai and Ren Yuan invited Bai Fan to take root in Ohara, Japan, which was called "Fish Mountain Theory". Master Jian Zhen went to North Korea and called it "Fish Mountain". Since Bai Fan was lost for thousands of years, the Wu Yong monk, who was entrusted with the mission of inheriting Bai Fan, cleared up the roots and carried forward the past. In June 2008, it was successfully declared and approved by the State Council as the second batch of national intangible cultural heritage protection projects, and now its full name is "Yushan Bai Fan".
June 5438+October 2005 10, a member of the Chinese Buddhist Association and the first generation of Buddhist monk Shi Zen Master got the message and went to live in Xiyu Mountain, and made a vow to build a temple in Yushan to inherit the culture. In September 2006, the first China Yushan Bai Fan Cultural Festival was successfully held, which shocked both at home and abroad. In June 165438+ 10, Bai Fan of Fish Mountain was published and approved by Shandong Provincial People's Government, and was awarded as an intangible cultural heritage of Shandong Province by Shandong Provincial Department of Culture. In July 2008, with the approval of People's Republic of China (PRC) and the State Council, it was awarded as a national intangible cultural heritage protection project by the Ministry of Culture. At present, Zen master Wu Yong has published many monographs, such as Collection of Fish Mountain Declarations, Collection of Essays on Fish Mountain Bai Fan in China, Collection of Fish Mountain Bai Fan Declarations, and Brief Introduction to the Inheritance of Fish Mountain Bai Fan.