It’s not called “Fan Chan”, it’s called “Fan Chan”. There are many kinds. I haven’t heard the specific music, so it’s hard to tell what it is. The academic definition and a relatively complete download URL are given below. You can also search for it on the Internet yourself.
Fan Chan
Buddhist music originated from India, and the development of Buddhist music in Han China started with Fan Chan. Brahman means "purity" in Indian. Bai is the abbreviation of "Baidna" in Indian language, which means praise or singing. Fanbai, also known as chanting chants, Sanskrit music, Sanskrit music, Buddhist music, Buddhist music, etc., is a hymn that Buddhists sing, make offerings to, stop, and praise in front of Buddhas and Bodhisattvas during religious ceremonies. Later generations generally refer to it as traditional Buddhist music.
Origin and Development
When Buddhism was introduced to the Three Kingdoms, some eminent monks from India and the Western Regions spread and translated Buddhist scriptures in the Han Dynasty. At the same time, they also brought Buddhism from India and the Western Regions. music. Renzhi Qian of the Yuezhi composed three kinds of "Bodhisattva Sanskrit Chant" based on the "Infinite Life Sutra" and "Zhongbenqi Sutra"; Kang Senghui also made this music and also passed down the "Nihuan Chanting Sound". In addition, Silimitra, the author of "Three Deeds of Hu Bai, Fan Xiang Ling Yun", was also from the Western Regions; the Yuezhi tribe in the south of the county "made new sounds, and the Fan Xiang was pure and beautiful", and passed down the "Six-Character Fan Chan" to later generations. "The original Fu Sutra was translated into Chinese and translated into Han Ting. In the north, there were some (Fa) orchid, which began to speak directly and to explain the dissection; in the south, there was a gathering of monks (Kang), who promoted the rhyme of the tune to satirize it." (Song Zanning's "Biography of Eminent Monks of the Song Dynasty") ) The Vatican IV they passed on should be Buddhist music in the style of the Western Regions. However, these exotic "Hubai" did not spread widely.
According to legend, the earliest creator of Fanbai in my country was Cao Zhi, King of Chensi in the Cao Wei Dynasty. He tried to visit Yushan (a fishing mountain, now in A County, Shandong) and heard a kind of Fan sound in the air (the sound of water in a rock valley). It was clear and sad, and after listening to it carefully for a long time, I realized something deeply. I copied its syllables and wrote it as a Sanskrit chant based on the "Ruiying Benqi Sutra". The Fan chant he made has six chapters, which is the "Yu Shan Fan" handed down by later generations (also known as "Yu Shan Bai", see "Fa Yuan Zhu Lin"). ". [Tang Dynasty] Shi Daoshi wrote in the thirty-sixth volume of "Fa Yuan Zhu Lin": "Every time Zhi reads Buddhist scriptures, he often lingers and plays, thinking that he is the ultimate sect of the Tao. Then he composed seven tones of praise, and the sound of rising and falling twists and turns was recited by the world. Xian Zhan Yan, while traveling in Yushan, suddenly heard the sound of Brahma in the air. It was elegant and sad. It moved my heart. I listened to it alone for a long time, and all the attendants heard it. It was deeply rooted in my heart. Feeling the spiritual principles and understanding the response of the Dharma, I copied its verses and wrote them as Sanskrit chants. I wrote a text to control the sounds and passed them on to the later style. This is where the emergence of Sanskrit sounds began. "Xie An "lived in Kuaiji, where he traveled with Wang Xizhi, Xu Xun and Sang Menzhi of Gaoyang. When he went out, he was fishing for mountains and rivers, and when he entered, he was chanting poems and poems, but there was no sense of the world." From this, "Cao Zijian traveled to Yushan and heard about it. It was written by the sound of the water in the rock valley, and the notation of the Buddhist chant should be regarded as the beginning of the Buddhist chant in the East." Shi Huijiao's "Biography of the Eminent Monk. The Theory of Poetry on the Thirteen Classics" records: "In the beginning, Cao Zhi, the king of Chensi in the Wei Dynasty, loved the rhythm deeply and belonged to the Yi Jing. The sound not only connects with the auspicious sound of Panzhe, but also senses the divine system of Yushan. Therefore, he wrote "Ruiying Benqi" and regarded it as the sect of scholars. There are more than 3,000 people who have heard the sound, and there are 40 or 20 people in the contract. " He also said: "In the past, when the heavens sang praises, they all used rhyme to string and pipe. The five kinds of music are contrary to the common customs, so it is better to use sound and music to be more wonderful. The origin of Fanbai, the original husband, also originated from Chen Si. He began to write Ode to the Prince and Ode to Tao. Because of his ability to control his voice, express his voice, regulate his voice, and receive instructions from the Dharma and God, the current Emperor Gu Wei is extremely powerful. ”
Cao Zhi matched the melody of music and Sanskrit verses with the pronunciation of Chinese characters, making the Buddhist scriptures seamless when chanting. The method of combining basic and new verses solves the problem of using Sanskrit music to chant Chinese verses, which means "the verses are too complex to sound", and using Chinese tunes to satirize Sanskrit verses, which means "the rhyme is short but the words are long". With Cao Zhi's experience, monks in the past generations. He began to try to further use Chinese folk music to adapt Buddhist songs or create new songs, so that the ancient Indian Fanbai music could gradually be combined with Chinese traditional culture. Fanbai has since embarked on a path of prosperity and development. In the Qi and Liang Dynasties of the Six Dynasties, Buddhists began to absorb folk literary and artistic forms (such as "jiandu" and "singing guide") by combining Chinese folk music and orthodox literature at that time to create and initially form the Chinese Buddhist music system-Chinese Buddhist music. etc.). This is an important period for the development of Fanbai in our country.
"Collection of Yuefu Poems·Zaqu Songs" (Volume 778) contains twelve "Fashou Music Songs" by King Rong of Qi, each of five words and eight sentences. The content praises Sakyamuni's life deeds. According to the system of his songs, From the looks of it, there is no doubt that they are singing with this kind of colorful Sanskrit chant.
During the Sui and Tang Dynasties, Buddhism not only became popular in secular music (telling and singing sutras and Buddhist stories), but also due to the development of transportation in the Western Regions, Buddhist chants from the Western Regions were also gradually introduced to the Han Dynasty. In addition, there are Buddhist chants and chants introduced from other Buddhist countries, and some chants were also used by imperial music houses. All of these had an important impact on the development of Chinese chants. It can be said that Chinese chants have entered a glorious period. Volume 159 of Chen Yang's "Book of Music" contains "Hu tunes". It records that the Sanskrit chants used by the Tang Dynasty music houses include "Pu Guang Buddha Song", "Maitreya Buddha Song", "Riguang Buddha Song", "Damawe De Buddha Song" and "Tathagatagarbha" 26 songs including "Buddha Song", "Sakyamuni Buddha Song", "Burning Incense Buddha Song", "Ten Grounds Buddha Song", and "Guanyin Buddha Song". Existing materials on Buddhist songs and praises from the Tang Dynasty include Shandao's "Praise to the Dharma of Turning the Sutra, Walking on the Path, and Wishing to Be Reborn in the Pure Land", "Praise to the Psalms of Practicing the Buddha and Praying for Rebirth in the Pure Land According to the Avalokitesvara Sutra", and "The Five Sessions of Chanting, Chanting, and Contemplating the Practice of the Pure Land" written by Fazhao. "Praise to the Dharma and Rituals of the Five Sessions of the Pure Land to Recite the Buddha's Name". The melody used is still in the tone of Fanbai, and the popular Bianwen in the Tang Dynasty also has the phonology of Fanbai. The Buddhist songs of the Tang Dynasty recorded in the Dunhuang Sutras include "Ode to Xi Tan", "Wu Geng Zhuan", "Twelve O'clock" and other tones.
During the Song and Yuan Dynasties, the form of instrumental music was very popular in my country, and Buddhism also adopted this popular form to make offerings to Buddhas and Bodhisattvas, and to get closer to the people and receive more people. Buddhist believers. At the same time, it also absorbed a large number of folk tunes and tunes from the north and south, and temples in various places successively produced Buddhist chants with different local characteristics. But the main difference is the difference between the north and the south. The influential book "Songs of the Names of the Buddhas, World Honored Tathagata and Bodhisattvas" in the history of Buddhist music is filled in with various tunes of the north and south songs. The 50 volumes of this book are from the 15th year of Yongle in the Ming Dynasty. Edited in the 18th year (1417-1420).
According to incomplete statistics, there are nearly 200 northern and southern tunes used in commonly used Buddhist chants. In addition to the six-line praise that mostly uses "Huayan Hui", the others include "Hanging the Golden Lock", "Yellow Bean Leaf", "Wang Jiangnan", "Liu Hanyan", "Jin Xue Jing", "Gold Brick Falling into the Well", "Broken Lotus Leaf" and "Parasitic Grass" ""Langtaosha" and so on are the most common ones. In recent years, Buddhist music groups have been established in Beijing, Jiangxi, Tianjin, Xiamen and other places, and audio tapes of Chinese Buddhist chants have been compiled, published and distributed. On the basis of traditional Buddhist chanting, bold innovations have been made, and modern musical instruments such as electronic keyboards have been used in Buddhist chanting. Today, with highly developed material and spiritual civilizations, the ancient Buddhist traditional culture of Chinese chanting has also encountered challenges, but as long as there is Buddha With the efforts of colleagues from all walks of life such as the music industry and the music industry, it will be further developed and enriched, and will be passed down for generations.
The meaning and merits of chanting Sanskrit chants,
"Ten Rhyming Rules" says: If you listen to Sanskrit chants, there are five benefits: first, the body will not be tired, and second, you will not forget what you have remembered. , the third is that the mind is not slack, the fourth is that the sound is not bad, and the fifth is that the heavens are happy.
According to legend, in the past, a monk recited the "Shrangama Mantra on the Head of the Great Buddha". When the gods in the sky heard the sound, they knelt down and listened respectfully with their palms together. They did not get up and leave until the mantra was finished.
It is recorded in the Chang Agama Sutra: The sound has five kinds of purity, so it is called Sanskrit sound: 1. Its sound is upright. 2. Its sound is gentle and elegant. 3. Its sound is clear and clear. 4. Its sound is deep and full. 5. Hear it from far and wide.
"Lotus Sutra" says: If you let people make music, beat drums and blow shells, flute, flute, harp, harp, pipa, cymbals, all these wonderful sounds, hold on to them as offerings, or sing with joy. Praising the Buddha's virtues, even a small note, has become the way of the Buddha.
"Nan Hai Ji Gui Zhuan": Being able to know the profoundness of Buddha's virtues and the order of institutional texts (being able to understand the Buddha's Dharma), being able to purify the root of the tongue, being able to open up the chest, being able to deal with people without fear, being able to Live a long and disease-free life.
As for the accompaniment of Fanbai, the main instruments are chimes, clangs, hafniums, bells, drums, fish, etc., as well as simple wind instruments. Such as "Green Yellow Flower", "Golden Lock", "Shui Luo Yin", "Eight Lines of Praise", "Zhunti Mantra", "Pu'an Mantra", etc. Among them, "Pu'an Mantra" is not only used by temples. Qin music, pipa music and orchestral ensemble all have the same name.
The whole song consists of "Explanation of Chapters", "First Mantra", "Incense Praise", "Lotus Terrace Appears", "Second Mantra", "Bells", "Drums", "Bells and Drums Sounding Together", "Bells and Drums Ringing". "Qingjiang Yin" and other compositions are a particularly beautiful set of Sanskrit songs.
Form and use of temple halls
Fanbai is mainly used in three aspects in temples:
First, lecture ceremony.
2. Practice the Tao at six o’clock (i.e. recite classes in the morning and evening, and make fasting offerings).
Third, confession in the ashram. Singing burning chants during these ritual activities is called Zuo Brahma. Buddhism believes that the sound of Sanskrit can calm the noise and facilitate the conduct of rituals. Therefore, believers follow the different requirements of the three sections of the Sanskrit chant, the first Brahma, the middle Brahma, and the second Brahma, during ritual activities. Select the front, middle, and back of Brahman. However, in recent times, when preaching scriptures and preaching the Dharma, the traditional "Tathagata Brahma", "Yun He Brahma" and "Zhao Shi Brahma" have been changed to the "Zhongshenggatha": "The sound of the bell spreads throughout the three realms, and the Dharma spreads among thousands of billions of countries; meritorious service prays for World peace, benefits repay Tanana’s kindness” and “Dharma of the Dharma King in heaven, Dharma King’s Dharma is like this” and other Buddhist chants.
The six-hour practice of Taoism and Brahman chanting has been followed by all sects since ancient times. No matter what sect or sect, they are all taught to recite it in the morning and evening. For example, on New Year's Day, Wangri, birthdays and anniversaries of Buddha and Bodhisattva ancestors, additional Sanskrit chants should be added in the front and middle of the homework. For the six-hour procession of Brahma, the most popular ones are six-line praise and eight-line praise. Liu-sentence praise is a compliment that is popular in both the north and the south. The praise consists of six sentences and 29 characters, so it is called the six-sentence first praise. There is also a kind of praise score in the north called "Yi Gu Ling", which has ten lines of praise, also known as the Ten Offering Praises, namely one for incense, flowers, lamps, coatings, fruits, music, tea, food, treasures and clothes. The first praise of "Pure and Wonderful Fragrance" is composed of four lines of 20 words. It can be sung with six lines of praise. The eight lines of praise are composed of eight lines of praise. It is usually sung after the chanting and in the middle of the Dharma Sutra. It is also called Thumbs up. For example, "Praise to the Three Treasures", "Praise to Amitabha", "Praise to Guanyin", etc. are all composed of eight sentences.
The purpose of confession in the Taoist temple is to guide the common people, that is, "all Buddhas use their good powers and methods to establish rituals of repentance." Therefore, the ceremony pays special attention to singing and praise. The content of confession in the Taoist temple can be said to be rich and colorful. The most commonly used ones include "Mengshan Food Repentance", "Yoga Flame Mouth", "Water and Land", "Liang Huang Bao Repentance", "Great Compassion Repentance", "Samadhi Water Repentance", etc. Among these Buddhist activities, the content of Fanbai is extremely rich, but most of them focus on the "Four Great Blessings" and "Eight Great Praises". That is, "Om Mani Pa* (Left Mouth Right Mi) Hum", "Om Na Maba Gawadi", "Om Amuga", "Buddha Treasure", "Western", "Ten Offerings", etc., in addition to these, Buddhism At the end of each confession session, the disciples add some popular praises to lament the impermanence of life, and urge people to wake up as soon as possible and turn around, such as "There is no rain on the green mountains and people are busy", "A Dream on a Spring Night", "A Dream of Ripe Yellow Liang in Nanke", etc. Or you can admire the wonders of the Western Paradise, and pray that the souls of the deceased will not fall in love with the world of mortals, but return to the West and climb to the other side of Paradise together.
Thanks to the advocacy of eminent monks in the past dynasties, Zanbai has been widely used in many religious ceremonies in ancient times. First of all, praise must be used when preaching. This kind of praise is usually done before and after the lecture. According to the program recorded in Volume 39 of the "Four-Fun Rules and Acts of Money Holding" written by Song and Yuanzhao during the lectures on the Sutras: the first ritual is the three treasures, the second is to raise the throne, the third is to beat the chime to quiet the crowd, the fourth is to praise, the five are to say, and the six are to view. The movement stops, the seventh speech is directed towards the direction, the eighth is the chant of praise, and the ninth is the ceremony of sitting down. According to the second volume of Yuanren's "Records of a Dharma-seeking Pilgrimage to the Tang Dynasty", the order of the lectures is as follows: Ringing the sutra bell, everyone goes to the hall; ", singing the verse "Why is this Sutra"; after the Sanskrit chanting, the lecturer sang the title of the sutra and lectured on the sutra; after the lecture, everyone praised in a long tone with the same voice, and there were words of devotion in the praise; the lecturer took his seat, and a monk sang "Chu" The world is like empty space." Secondly, you must use praise when practicing the Tao at six o'clock. This has been followed by all the famous sects in ancient times. Its legacy can still be seen in the morning and evening lectures and chanting in modern temples (see "Lectures and Chanting" for details). Thirdly, since the Taoist confessional ceremony aims to guide the lay people, its rituals pay special attention to praise. According to the order of walking on the path recorded in the eighth "Dharma of Enlightenment" in Sui Zhi's "Lotus Samadhi Confession Rite": If you want to walk on the path, say the name of the Three Jewels, burn incense and make a covenant with mindfulness, chant the "Three Refuges". Finally, chanting is often performed during regular fasting meetings.
According to records, in the Tang Dynasty (766-779), Xu Xiang, the governor of Songzhou, and others set up the "Baguanzhaihui" in the state, and hosted thousands of monks in Kaiyuan Temple. The remaining officials and civilians each had 1,500, 500, and 5,000 people. At the Zhaihui, at that time, "Feasts and other rituals were offered, and they were stuffed in the outskirts; people chanted fragrant flowers, and filled the day and night with noise." (Jinshi Cuibian, Vol. 98, "Baguanzhaihui Baodeji" written by Yan Zhenqing), it can be seen that , Zanbai was also quite popular among the people at that time.
After Zanbai spread in China, due to the vast territory of China, its tones also differed from region to region. Generally speaking, the differences were mainly between the north and the south. According to Daoxuan's records of the Tang Dynasty: "The land is divided into Zheng and Wei, and the voices are also different. However, the road is not easy to adapt to. Jiangbiao (referring to the area south of the Yangtze River - the author's note) Guanzhong (referring to the Chang'an area in the north - (Introducer's note). Isn't it because Wu and Yue's ambitions and customs were so frivolous that they only focused on delicate and euphemistic music? The higher the score, the better." (Volume 40 of "Extended Biography of Eminent Monks"), it can be seen that the northern and southern Sanskrit sounds have their own specialties. Zan Ning in the Song Dynasty also argued that Sanskrit sounds have two styles, the north and the south, and pointed out that this was caused by the different origins of teaching and reception. He said: "The original Fu Sutra was passed down to Sinian, and translated into the Han Dynasty. In the north is Zhulan, which began to be straight-sounding and pronunciation; Nanwei Senghui promotes the music and rhyme to promote communication. Lan is a descendant of the Mu family, and Hui is a member of the Kangju family... The tribes behave differently, and may adhere to the teachings of Buddhism, which is more difficult to reform; , the Duojue School has competing teachers, one is right and the other is wrong; there is no end to the conflict all the time." (Volume 25 of "The Biography of Eminent Monks of the Song Dynasty")
As far as praise texts are concerned, the three main types that were popular before the Tang Dynasty were "Tathagata Bai", "Yun He Bai" and "Shishi Bai". "Tathagata Bai" has two verses, which are derived from the "Shengwan Sutra". The first is "The Tathagata's wonderful color body has no equal in the world; it is incomparable and unimaginable, so I salute you now"; the second is "The Tathagata's color is endless, and his wisdom is also the same; all dharmas are permanent, so I take refuge." These two stanzas were both sung when walking incense to praise the Buddha, so they are also called "Walking Incense to Brahma". "Yun He Bai" also has two verses, which come from the "Nirvana Sutra". The first one is "How can one obtain longevity and the indestructible body of Vajra? What causes and conditions lead to the great solid power?"; The second one is "How can this sutra reach the other shore? May the Buddha reveal the subtle secrets and preach them to all living beings." ". "Being in the World" comes from the "Chao Ri Ming Jing", that is, "Being in the world is like space, like a lotus flower, not touching the water; the heart is pure, transcending that, bowing one's head, and being the supreme honor." Among them, "Yun He Bai" and "Shi Shi Bai" were still popular in temples in the Yuan Dynasty (see "The Novice's Dedu" Ceremony in Volume 5 of "Edicts to Repair Baizhang Qinggui"). But in modern times, the "Zhongsheng Gao" and "Hui Xiang Gao" have been sung during sermons to replace the above two praises.
In later generations, the six-line praises and the eight-line praises were sung during class recitations and blessings. Liu-sentence praise is a compliment that is popular in both the north and the south. Its praise consists of six sentences and twenty-nine characters, so it is called six-sentence praise. His representative works are "Incense Burning" and "Incense Praise". Other praises to Buddhas, Bodhisattvas, Weituo, Jialan, etc. also mostly use the six-sentence form, so this praise rhyme is the most popular. The six-line praise is often sung at the beginning of religious ceremonies, with the purpose of inviting the Buddhas. Eight-line praise is also called big praise, which generally consists of eight sentences. His representative works include "Praise to the Three Jewels", "Praise to Amitabha Buddha", "Praise to the Medicine Master Buddha", etc. Eight lines of praise are more often sung after chanting sutras or during religious ceremonies. In modern Buddhist temples, famous praises such as "Four Birthday Wishes" and "Eight Praises" are often sung on the occasion of Buddha's birthday and residence. When singing and reciting, usually only the dot-board notation is used, and the singing is performed with clang, hafnium, etc. The volume, pitch, and melody passing through the board are all dictated by dictation and there are no fixed rules.
In 230 AD, Cao Zhi visited Yushan and heard Sanskrit singing coming from the cave, so he drafted the tune and filled in the melody according to the content of the "Prince Ruiying Benqi Sutra", which was later called the No. One chant is "Yushan Fanbai". On June 19, 1996, Japan's Toji Shingon Sect's "China? Yushan Worship Group" came to Dong'e County, Shandong Province to pay homage to the tomb of Cao Zhi, the founder of Chinese Buddhist music, and demonstrated and performed the Buddhist music composed by Cao Zhi in Yushan. --Yushan. It turns out that during the Zhenguan period of the Tang Dynasty more than 1,200 years ago, the founders of Japan's Shingon sect, Kobo Daishi Kukai (774--835) and Enren Nakuzu, came to China to seek Dharma, and introduced Uoshan chant to Japan, where it has been passed down to this day. Yushanbai is called a "statement" in Japan.
The Japanese Buddhist community did not forget its roots and sent a friendly delegation to Yushan in China to pay homage to its ancestors. It fully expresses the Japanese people's deep affection for the Chinese people. Through the oral transmission and audio-visual materials left by Master Taiki Donin in Japan, Master Yongwu of Fanbai Temple has communicated and participated in many Fanbai scholars with his disciple Mengjiang (83 years old), his beloved disciple Zhengming and other Fanbai scholars over the years. The perfect combination of the original "five tones, five elements and five qi" of Yushan Fanbai with the current "one board and three eyes" restores the basic original appearance of Yushan Fanbai. Not only has it been inherited, but it has also reached a new milestone in development. I believe that with everyone's concern and efforts, Fanbai will shine again in the near future.
Elder Benhuan, a leading figure in contemporary Buddhism, named it "Fanbei Ancestral Court". Elder Yicheng, president of the Buddhist Association of China, named Fanbei Temple, and many other elders paid attention to it. Zen Master Shi Yongwu, the 33rd generation of the Caodong sect of Shaolin Temple, came to receive the Dharma successor and made a great vow to abide by the precepts and practice, paying equal attention to agriculture and Zen. Leading the four disciples with the purpose of "doing Buddhist deeds with sound and singing harmony with Sanskrit chants", we work together to achieve success and promote human Buddhism to benefit mankind! In 2006, the China Yushan Fanbai Cultural Festival was successfully held! Exchanges were organized with Japan, the United States, Taiwan and other places. Fanbai entered a new milestone. In 2008, it was approved by the State Council as a national intangible cultural protection unit. To this day, Yushan Fanbai is flourishing all over the world, and it is visible to all.
On this day, 1777 years ago, on September 8, 2007, Master Yongwu, the abbot of Fanbei Temple, welcomed more than 5,000 people from the Buddhist, academic, and literary circles across the country for a pilgrimage ceremony in Dong'a. The China Yushan Fanbei Festival, organized by the Shandong Buddhist Association, the Central Conservatory of Music, Yushan Fanbei Temple and other units, is unprecedentedly grand.
Master Shi Yongwu of Yushan Fanbei Temple praised:
Duke Zhi, the king of Dong'a, was born in the palace of Cao Wei. The clouds are high and the sounds of nature are connected to the Zhu, and the fish mountains are connected to the sky
Rui Yingben started to delete and rule, and the poems in seven steps and eight battles were heroic. The world of peaceful and wonderful sounds is the same, and the source of Fanbai is the true sect.
From the article "Summary" by Shi Yongwu in "Proceedings of the China Yushan Fanbai Cultural Festival" by the National Religious and Cultural Publishing House