Nanyin came from the Central Plains
There are many similarities between the ancient music of the Central Plains in the Yellow River valley of China and Nanyin, such as the five-tone music played first, the scale and the Gongdiao theory; Spinning characteristics of palace angle around quotient and other multiple angles; The musical notation of Han Dynasty and the singing and performance form of "Silk and bamboo are more harmonious, and the festival-bearer song" of Han Lin's harmony song; The three tones, phase and five tones of the Qing Dynasty and Shang Dynasty can all be found in Nanyin. (Stupid article: "Problems of Nanyin Standard Tone" has explained the above phenomenon in detail, so this article explains it.) It is no wonder that Quanzhou Fuzhi contains a poem written by Su Jun, a cold Confucian in Jinjiang during the Wanli period of the Ming Dynasty: "The path is full of smoke and rain, and the waves in the sky are rolling up." "Jiangtou keeps clearing the business songs, leaving a spring breeze and hospitality." Su Jun is a lover of Nanyin. What is the Qing Shang Qu he refers to if it is not Nanyin? Therefore, in ancient times, Quanzhou Nanyin was probably also called Qing Shang Qu.
The reason why the ancient music of the Central Plains survived in Quanzhou Nanyin is not unrelated to the phenomenon of several great immigrants in history. Yongjia Rebellion (A.D. 34-39), the people of Jin Dynasty went to the south. Song Taiping's World Record: "The Eastern Jin Dynasty crossed the south, and the gentry were well dressed, and they extracted more land in order to stop the blockage. In the second year of Jing Yun, Nan 'an County (now Quanzhou) was changed to Quanzhou and Jin 'an County (now Fuzhou)." Archaeologists in Quanzhou have also discovered a large number of Jin tombs in Jinjiang River valley. Especially a few years ago, a tomb of Jin Dynasty was discovered in Maoxia Village, Yufeng Prefecture, which contained the funerary objects of "Bu Qu Yin", which is an important witness to this historical fact. However, in order to remind their descendants of this historical fact, the Jin people who moved south changed the name of the river originally named Nan 'anjiang to Jinjiang to show their yearning for the homeland of Jin. After the death of the Eastern Jin Dynasty, the Jin people who moved south to Jiangzuo for more than 1 years still felt that Jiangzuo was not as peaceful and stable as the south, so they moved from Zhejiang to northern Fujian in small batches, and finally lived along the river in the southeast corner of this pleasant climate, fertile soil and partial security, just like the Jinjiang River Basin in a paradise. During the Guangqi period of Tang Xizong (885-887 AD), Wang Chao and Wang Shenzhi, brothers from the Longmu Uprising in Henan Province, entered Fujian, and according to the five states in central Fujian, they became the king of Fujian and established the country of Fujian. The immigration time is short and large. His nephew, Wang Yanbin, set up a recruiting school in Nan 'an to recruit talents and scholars, and the gentry of the Central Plains, such as Huang Tao, moved to the south one after another, and Quanzhou became a "seaside Zou Lu" for a while. At this time, Quanzhou's economy and culture are quite developed, and it is already a prosperous scene of "thousands of Luo Qi orchestras singing". The southern crossing of Zhongyuan people not only brought the advanced production technology of Zhongyuan, but also brought the excellent music culture of Zhongyuan, which greatly promoted the economic and cultural development of Quanzhou at that time and laid a solid foundation for the prosperity of Quanzhou in Song and Yuan Dynasties.
Nanyin and Liyuan Opera blend and develop
Why can Nanyin ancient music be passed down from generation to generation and sung for a long time, so it is deeply loved by people? The main reason is that in the historical process, apart from constantly absorbing the voices of brothers to enrich itself, its decisive factor is the long-term integration and development with Liyuan Opera.
in the second year of Jingkang (ad 1127), Jin bing invaded the south, Bianjing (now Kaifeng) fell, and the Northern Song Dynasty fell and moved its capital to Lin 'an (now Hangzhou), establishing the Southern Song Dynasty. The Zong Zheng Division of Zhao and Song royal families moved from Lin 'an to Quanzhou. Legacy ministers and adherents moved southward in succession, and Quanzhou became the capital of the Southern Song Dynasty. At this time, Quanzhou Port was in a prosperous period and had the reputation of "the largest port in the East". As a result of economic development, it will inevitably bring about cultural prosperity. The Liyuan Opera, based on Nanyin, with Quannan accent with strong Zhongzhou Luoxia accent as its lyrics and storytelling, came into being at this time. It should be pointed out that it has nothing to do with the court culture brought about by the southward migration of the Song Dynasty, such as family class (also known as family class drama).
Liyuan Opera takes Nanyin as its parent music and Nanyin "Qu" as its main singing voice. In the course of its development, it has absorbed some folk songs and other opera voices, such as Yiyang, Kunshan, Qingyang and Chaodiao, to enrich itself, thus forming schools of "going on the road", "going down to the south" and "Little Liyuan". In the long historical process, Nanyin has moved from the palace to the folk, and from the folk to the stage, forming a kind of traditional music with unique personality, elegance and popularity. The tone of Nanyin is simple, elegant, soothing and low-pitched, but it is most suitable to be accompanied by sadness, sadness, lyricism and yearning, especially folk stories with love as the theme. Therefore, it is very infectious and connected with the people's hearts, and is deeply favored by people, with a strong and solid mass base.
There are traces of Liyuan Opera, such as Chen Sanwu Niang, in Three Selected Books of Chord Pipe of Minnan Opera published in Ming Dynasty. It not only records the rolling gate of Nanyin, but also marks the lyrics and the music of Nanyin, which shows that Nanyin has a close relationship with Liyuan Opera for a long time.
The emergence of Liyuan Opera not only enriched the contents of Nanyin's "finger" and "song", but also developed Nanyin's plucking, musical instruments and intonation through performance practice. In the aspect of slapping, the original binary note is a slap, but it is condensed into a quarter note as a slap; Musical instruments are replaced by pinxiao instead of dongxiao; In the aspect of tuning, the tuning method is changed from "taking industry as business" as the standard sound to "taking X as OEM" as the quality control tuning method. As Nanyin and Liyuan Opera are imbibed and blended with each other in the long history, "You have me and I have you". In a way, the reform made by Liyuan Opera on Nanyin is closer to real life, and the people are more willing to accept it, which undoubtedly plays a role in perfecting Nanyin and enriching Nanyin, making Nanyin art more vital.
not only that, other local operas in southern Fujian, such as Muppet Opera, Gaojia Opera, Dacheng Opera, and even Mi Opera (Gezi Opera), have also absorbed nutrients from Nanyin to enrich themselves in the process of development. For example, isn't the most distinctive Daguangxian in Gezi Opera evolved from Nanyin Erxian? Similarly, in the process of performing for the people, various operas in southern Fujian have continuously enriched and practiced Nanyin, making Nanyin closer to the masses and more deeply rooted in people's hearts, and become an indispensable part of people's spiritual food and daily life.
the origin of Quanzhou Nanyin's etiquette of "stepping on the golden lion"
1. In the past, Quanzhou stringed pipe sang in a brocade shed, with the horizontal color of "Imperial hanger-on" hanging on it, and wooden silver palace lanterns hanging on the side. Five plush chairs were placed in the center of the stage, and a crank umbrella embroidered with Huanglong stood on the left. Everything in the stage was arranged according to the traditional statutes. The whole stage is decorated with colorful lights and splendor, which is particularly atmospheric.
2. In the old days, the singers and players of stringed instruments were all men, and they were very particular about their clothes, so they had to wear robes and mandarin jackets to perform on stage. They sit in plush chairs, are gentle and elegant, and behave in accordance with the ancient style. Up to now, Nanyin pays more attention to etiquette when singing, and those who wear shorts, vests and slippers are strictly forbidden to perform on stage. 3. The performer has a fixed position when singing the string tube. The order of the five seats is that the singer holds the festival in the middle, and the first one on the left side of the singer is the flute, and the second one is the second string. On the singer's right, the first one is pipa, and the next one is sanxian. Other instruments, such as bell, small call, wooden fish, double bell, four treasures and flat drum, are separated on both sides of the back. 4. The tradition of Quanzhou stringed instrument singers holding festivals and singing songs is the same as that of the singers holding clappers in the long scroll Han Xizai's Night Banquet in the Southern Tang Dynasty. It has always continued the traditional form of "silk and bamboo are more harmonious, and the festival-holders sing". Among the vast national folk music in China, Nanyin is the only one with this performance form and distinctive local characteristics.
5. In the past, orchestral instruments focused on the pipa, and they sat in the "big position" on the singer's left. When playing, the pipa player should take the stage first, and other instrument players can take their seats. Later, when the "Five Little Fangxian" played for Emperor Kangxi in Jinjing, Emperor Kangxi took the flute and tried to blow it. After that, this "big position" was naturally given to the flute player.
6. During the performance of Quanzhou Nanyin, there are two carved golden lions on the stage for the players to step on, which is called "stepping on the golden lion". This unique display and etiquette is said to have originated in the Kangxi period of Qing Dynasty, which is related to the favor of Emperor Kangxi in the performance of Nanyin Jinjing in Quanzhou.
7. The pipa and erhan players in the stringed pipe often cross their legs when playing, in order to prevent the instrument from slipping. When Quanzhou Nanyin Jinjing played for Emperor Kangxi, it was disrespectful and impolite to cross his legs in front of the supreme emperor. Quanzhou string pipe master doesn't know what to do.
8. Emperor Kangxi had an idea. He had a brainwave and ordered eunuchs to take down the two golden lions in front of the dragon chair, one at the foot of playing the pipa and the other at the foot of playing the second string, so that they could pad their feet to prevent the musical instrument from slipping off, so as to play better. Since then, Quanzhou Nanyin musicians have had the honor of "stepping on the golden lion". 9. The "golden lion on foot" has now evolved into four golden lions, and each player has a golden lion mat. Quanzhou Nanyin, a strict singing etiquette custom, is simple, solemn and standardized. The etiquette of "stepping on the golden lion" shows the profound connotation and artistic value of Nanyin.