Brahma means "purity" in Hindi. Bai is an abbreviation of "Bai Ni" in Indian, which means praise or singing. Fanbai is a method of sound practice for Buddhists (specifically, monks and nuns) to chant, support, stop, admire and practice in front of Buddhists and Bodhisattvas when they hold religious ceremonies. Including praise and chanting.
1. Chen Si Wangyushan created Fanbai.
The earliest Fanbai in China originated from Fish Mountain, which is known as the birthplace of Chinese Buddhist music. In the 4th year of Taihe in Wei Mingdi in the Three Kingdoms (AD 23), Chen Siwang Cao Zhi visited the Fish Mountain and felt the deity system of the Fish Mountain. Therefore, the deletion of Prince Rui Ying Ben Qi began the Ode to the Prince (that is, the praise of bathing Buddha today) and the Ode to the Sui Dynasty, while "the scholar's Sect has spread more than 3,, and in the contract there are 42", which is said to have six contracts. After Zhi Qian, Kangsenghui, Mi Li and "Yi Yun Zu Shu Chen Si Wang", famous monks and customs such as Bofa Bridge, Zhi Tan Keyi, Tan Qian, Monk Debate, Hui Ren, Xiao Ziliang, Liang Wudi and so on advocated the inheritance and development of Fanbai, which flourished in Qi and Liang Dynasties and popularized Sui and Tang Dynasties.
2. The development of Fanbai in various historical periods.
(1) the introduction of "Hu Bai".
Since Buddhism was introduced to the Three Kingdoms, some eminent monks from India and the Western Regions spread and translated Buddhist scriptures in Han, and at the same time, they also brought Buddhist music from India and the Western Regions. Zhi Qian, a Yueshi, made three deeds of "Bodhisattva Lianju Fanbai" according to "Infinite Life Sutra" and "Benqijing"; The Buddhist monk's association also made this song, and passed on "the sound of mud and white". In addition, Li Mi Duo Luo, a silk corpse who made the "Three Deeds of Hu Bai and Fan Xiang Lingyun", is also from the Western Region. The Yueshi people supported the south of the county to "make new sounds, and the Brahma sounds beautiful" and spread the "six-character Brahma" to future generations. "The original husband by sinian, clip translation hanting. In the north, there are some (French) orchids, which begin to be straight and declared; Nanwei (Kang) Monk Association, Yang Quyun to satirize. " (Song Zanning's Biography of Song Monks) The Brahma IV they preach should be a Buddhist song in the style of the Western Region. However, these exotic "Hu Bai" did not spread widely.
(2) "Fanbai", which was created by Chen Si Wang, is a special name of the standard sound and sound Buddhism in Chinese.
Cao Zhi, the Chen Siwang in the Cao Wei era, was the earliest creator of Fanbai in China. He visited Yushan Mountain (once a fishing mountain, now in Axian County, Shandong Province) and heard that there was a kind of Fanbai sound in the air. After listening carefully for a long time, he learned a lot, and copied its syllables. According to Ruiying Benqijing, it was written as Fanbai, and the composition was made into a sound, which was later. There are six chapters in the Brahma, which is the Fish Mountain Brahma (also known as Fish Mountain Pagoda, see Fayuan Zhulin). [Tang] Shi Daoshi wrote "Fa Yuan Zhu Lin" for thirty-six years, saying: "Every time I read Buddhist scriptures, I need to wander around and play, thinking that the supreme Taoism is also the ultimate. Then the system turned to praise seven times, and the sound of ups and downs was tortuous. The world ridiculed, salty and solemn, tasted the fish mountain, and suddenly heard the sound of Brahma in the air. It was elegant and sorrowful, and it was vivid and lonely for a long time, while the servants heard it, and they were deeply impressed by the gods, and they realized the law. It was to copy its sound section, write it as Brahma, and write it as a post-expression. The Brahma's voice became famous here. " Xie An "lived in Huiji, where he fled with Wang Xizhi, Levin Xu Xun and Sangmen. When he went out, he fished the mountains and rivers, while when he entered, he said that he belonged to the text and had no intention of dealing with the world". From this point of view, "Cao Zijian traveled to Fish Mountain, heard the sound of rock valley and wrote it, and made the spectrum of Fanbai, which should be the beginning of Fanbai in the East". Shi Huijiao's Biography of the Eminent Monk. On the Poems of Thirteen Classics says: "Wei Chensi, Wang Caozhi loved the melody deeply, and he was interested in the sound, which not only covered the sound, but also felt the divine system of fish and mountains;" Therefore, the book "Ruiying Benqi" was compiled, thinking that the scholars' Sect spread more than 3, voices, and in the contract, there were 4%. " Another cloud said: "In the past, all the praises of Bai were written in rhyme, and the five people violated the customs, so it is better to use music. The origin of Brahma was also originated from Chen Si. Began with the ode to the prince and the ode to her. Because the sound is controlled, the breathing is restrained, and the law is given by God. Today's emperor Gu Wei covers it. "
Cao Zhi matched the musical melody with the Sanskrit rhyme of the poems and the pronunciation of Chinese characters, which made the chanting of Buddhist scriptures seamless, and "it's important to have both sound and text". The method of combining Sanskrit pronunciation with the new system of ode solves the problems of chanting Chinese in Sanskrit and satirizing Sanskrit ode in Chinese with Chinese songs.
(3) The historical development and inheritance of Fanbai.
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 the ancient Indian Brahma music was gradually combined with China's traditional culture, and Brahma embarked on the road of prosperity and development. Later, Zhi Qian, Kangsenghui, Mi Li and other eminent monks combined China folk music and orthodox literature at that time to create and initially form the Chinese Buddhist music system-Fanbai in China. In the Qi and Liang Dynasties of the Six Dynasties, Buddhists began to absorb folk literary forms (such as "reading" and "singing and guiding"). This is an important period for the development of Fanbai in China. Poems of Yuefu Miscellaneous Songs (volume 1978) contains 12 songs of Fashou Music written by Qi Wangrong, each with five words and eight sentences, which eulogize the life story of Sakyamuni. Judging from its singing system, it is undoubtedly sung with this kind of Hua Sheng Fan Bai.
During the Sui and Tang Dynasties, Buddhism not only prevailed in popular music (singing scriptures and Buddhist stories), but also gradually spread to Han due to the development of transportation in the western regions. In addition, there are Buddhist songs Fanbai introduced from other Buddhist countries, and some Fanbai are also used by the imperial court Yuefu, all of which have had an important impact on the development of Fanbai in China. It can be said that Fanbai in China has entered a glorious period since then. Le Shu, written by Chen Yang, contains 159 Hu tunes, and records that there are 26 Fanbais adopted by Yuefu in Tang Dynasty, such as Puguang Buddhist Quo, Maitreya Buddhist Quo, Sunlight Buddhist Quo, Dawei Buddhist Quo, Tathagata Tibetan Buddhist Quo, Sakyamuni Buddhist Quo, Shidi Buddhist Quo and Guanyin Buddhist Quo. The extant materials of Buddhist songs and praises in the Tang Dynasty include a good guide's praise of Buddhist rituals in the Pure Land, praise of Buddhist rituals in the Samadhi Road in the Ming Dynasty according to the sutra, and praise of Buddhist rituals in the Pure Land Five Sessions, written by Fa Zhao. The tune used should still be the tone of Fanbai, and the popular variant in Tang Dynasty is also the rhyme of Fanbai. The Buddhist songs of the Tang Dynasty contained in Dunhuang scriptures have many tones, such as Ode to Siddhartha Tan, Wugengzhuan and Twelve o'clock.
in the song and yuan dynasties, the form of instrumental music was very popular in China, and Buddhism also adopted this popular form to support Buddhists 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 the north and the south. The influential book "Songs of the Names of the Buddha, the Buddha and the Bodhisattva" in the history of Buddhist music is filled in with various tunes of the north and south songs. This book has 5 volumes and was compiled from the 15th to 18th year of Yongle in the Ming Dynasty (1417-142).
(4) Fanbai spread to Japan and South Korea.
During the Tang Dynasty (84-85), Japanese monks Konghai and Yuanren invited Fanbai to take root in Ohara, Japan, which was called "Fish Mountain Statement". Master Zhenjian went to Korea and called it "Fish Mountain". Since the loss of Fanbai for thousands of years, the Buddhist monk Yongwu, who has been entrusted with the mission of inheriting Fanbai, has cleared up the original source and inherited the glory. In June 28, 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 "Fish Mountain Fanbai".
in October, 25, Shi Yongwu, the director of the Chinese Buddhist Association and a first-generation monk, made a heart-felt revival to live in Xiyu Mountain, and made a vow to establish the Fanbai Temple in Yushan to inherit the Fanbai culture. In September, 26, the first China Fish Mountain Fanbai Cultural Festival was successfully held, which shocked both at home and abroad. In November, "Fish Mountain Fanbai" was announced and approved by the Shandong Provincial People's Government and awarded as an intangible cultural heritage of Shandong Province by the Shandong Provincial Department of Culture. In July 28, it was approved by the People's Republic of China and the State Council, and awarded as a national intangible cultural heritage protection project by the Ministry of Culture. At present, Zen Master Yongwu has published several monographs, such as Collection of Fish Mountain Declarations, Collection of Essays on China Fish Mountain Fanbai, Collection of Fish Mountain Fanbai Declarations, and A Brief Introduction to the Inheritance of Fish Mountain Fanbai.