| | 清樂: |
清樂者，其始即清商三調是也，並漢氏以來舊曲。樂器形制，并歌章古調，與魏三祖所作者，皆備於史籍。屬晉朝遷播，夷羯竊據，其音分散。苻永固平張氏，於涼州得之。宋武平關中，因而入南，不復存於內地。及隋平陳後獲之。文帝聽之，善其節奏，曰：「此華夏正聲也。昔因永嘉，流於江外，我受天明命，今復會同。雖賞逐時遷，而古致猶在。可以此為本，微更損益，去其哀怨，考而補之。以新定呂律，更造樂器。」因置清商署，總謂之清樂。 |
| | Qingyue refers to a genre whose origin is precisely the three modes of Qingshang, along with old melodies dating back to the Han dynasty. The forms and structures of musical instruments, as well as songs and ancient tunes, including those composed by the three ancestors of the Wei dynasty, are all recorded in historical documents. During the period when the Jin dynasty relocated and dispersed, and the Yijie people seized control, its musical traditions became scattered. Fu Yongguo pacified the Zhang clan and obtained it in Liangzhou. Song Wu pacified Guanzhong, and thus it entered the south, no longer existing on the mainland. It was recovered after the Sui dynasty defeated Chen. Emperor Wendi listened to it and praised its rhythm, saying: "This is the authentic music of Huaxia." In the past, due to Yongjia, it spread beyond the Yangtze River; now that I have received the Mandate of Heaven, it has once again been reunited. Although appreciation and styles change with time, its ancient character remains. It can be taken as a foundation; slight modifications may be made to adjust it, removing elements of sorrow and lamentation, and refining and supplementing it. "Create new musical instruments according to the newly established pitch pipes." He then established a Qingshang office, and collectively referred to it as Qingyue.
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| | 清樂: |
先遭梁、陳亡亂，而所存蓋垬。隋室以來，日益淪缺。大唐武太后之時，猶六十三曲。今其辭存者有：白雪、公莫、巴渝、明君、明之君、鐸舞、白鳩、白紵、子夜、吳聲四時歌、前溪、阿子歡聞、團扇、懊壟、長史變、督護、讀曲、烏夜啼、石城、莫愁、襄陽、棲烏夜飛、估客、楊叛、雅歌、驍壺、常林歡、三洲采桑、春江花月夜、玉樹後庭花、堂堂、泛龍舟等共三十二曲。明之君、雅歌各二首，四時歌四首，合三十七曲。又七曲有聲無辭：上林、鳳雛、平調、清調、瑟調、平折、命嘯，通前為四十四曲存焉。 |
| | Earlier, due to the destruction and chaos of the Liang and Chen dynasties, what remained was very little. Since the Sui dynasty, it has gradually deteriorated and become increasingly incomplete. During the reign of Empress Wu Zetian of the Tang dynasty, there were still sixty-three tunes remaining. Among the lyrics that still exist today are: Bai Xue, Gongmo, Bayu, Mingjun, Mingzhi Jun, Dohu Wu, Baijiu, Bao Zhu, Ziye, Wusheng Sishi Ge, Qianxi, Azihuanwen, Tuanshan, Aolong, Changshi Bian, Du Hu, Du Qu, Wuyeti, Shicheng, Mochou, Xiangyang, Qiwu Yefei, Guke, Yangpan, Yayue, Xiao Hu, Changlin Huan, Sanzhou Caisang, Chunjiang Huayue Ye, Yushu Hou Tinghua, Tangtang, Fan Longzhou, totaling thirty-two tunes. Mingzhi Jun and Yayue each have two songs, Sishi Ge has four songs; altogether they make thirty-seven tunes. In addition, there are seven tunes with music but no lyrics: Shanglin, Fengchu, Pingdiao, Qingdiao, Sediao, Pingzhe, and Mingxiao; combined with the previous ones, a total of forty-four tunes remain.
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| | 清樂: |
當江南之時，巾舞、白紵、巴渝等，衣服各異。梁以前，舞人並十二人，梁武省之，咸用八人而已。令工人平巾幘，緋褶。舞四人，碧輕紗衣，裙襦大袖，畫雲鳳之狀，漆鬟髻，飾以金銅雜花，狀如雀釵，錦履。舞容閑婉，曲有姿態。沈約宋書惡江左諸曲哇淫，至今其聲調猶然。觀其政已亂，其俗已淫，既怨且思矣，而從容雅緩，猶有古士君子之遺風，他樂則莫與為比。樂用鐘一架，磬一架，琴一，一絃琴一，瑟一，秦琵琶一，臥箜篌一，筑一，箏一，節鼓一，笙二，笛二，簫二，篪二，葉一，歌二。 |
| | During the Southern dynasties period, for dances such as Jinwu, Baozhu, and Bayu, each had different costumes. Before the Liang dynasty, dancers numbered twelve; Emperor Wu of Liang reduced this number, and from then on eight people were always used. The order was given for the performers to wear flat-capped headgear (pingjin zhe) and crimson pleated skirts (feizhe). Four dancers wore light green silk robes, with skirts and long-sleeved blouses; the sleeves were wide. The designs on their clothing depicted clouds and phoenixes. Their hair was styled in lacquered buns and adorned with gold and copper flowers of various kinds, resembling bird-shaped hairpins, and they wore embroidered shoes. The dance movements were graceful and elegant, each tune displaying its own postures and expressions. Shen Yue of the Song Shu criticized the vulgar and licentious nature of various tunes from Jiangzuo; to this day, their melodies remain as such. Observing the state of affairs, the government had already fallen into disorder and the customs had become licentious. The people were filled with both resentment and longing; yet the music remained composed and elegant, still preserving the lingering style of ancient gentlemen. No other kind of music could be compared to it. The music employed one set of bells, one set of stone chimes, one guqin, one monochord (yixian qin), one se, one Qin pipa, one horizontal konghou, one zhuan, one zeng, one jiegu drum, two sheng mouth organs, two dizi flutes, two xiao vertical flutes, two chi flutes, one yehu leaf-shaped wind instrument, and two singers.
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| | 清樂: |
自長安以後，朝廷不重古曲，工伎轉缺，能合於管絃者，唯明君、楊叛、驍壺、春歌、秋歌、白雪、堂堂、春江花月夜等八曲。舊樂章多或數百言，武太后時明君尚能四十言，今所傳二十六言，就之訛失，與吳音轉遠。劉貺以為宜取吳人使之傳習。開元中，有歌工李郎子。郎子北人，聲調已失，云學於俞才生。才生，江都人也。自郎子亡後，清樂之歌闕焉。又聞清樂唯雅歌一曲，辭典而音雅，閱舊記，其辭信典。 |
| | Since the Chang'an period, the imperial court no longer valued ancient tunes; gradually, the musical skills became scarce. Only eight tunes could still be performed with wind and string instruments: Mingjun, Yangpan, Xiaohu, Chunge, Qiuge, Bai Xue, Tangtang, and Chunjiang Huayu Ye. The old musical lyrics often contained several hundred characters. During the reign of Empress Wu, Mingjun still had forty characters; now only twenty-six remain. Through successive errors and losses, it has become increasingly distant from its original Wu dialect form. Liu Kuang believed that the proper course of action would be to recruit people from Wu to teach and preserve these traditions. liğinde In the middle of Kaiyuan, there was a singer named Li Langzi. Langzi was from the north; his vocal style had already deviated, and he claimed to have learned it from Yu Caisheng. Caisheng was a native of Jiangdu. After Langzi's death, the singing tradition of Qingyue became lost. It is also said that among Qingyue, only Yayue remains as a single tune; its lyrics are elegant and its melody refined. Upon reviewing old records, the words indeed appear dignified and classical.
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| | 清樂: |
自周、隋以來，管絃雜曲將數百曲，多用西涼樂，鼓舞曲多用龜茲樂，其曲度皆時俗所知也。唯彈琴家猶傳楚、漢舊聲及清調、琴調，蔡邕五弄、楚調四弄調，謂之「九弄」，雅聲獨存。非朝廷郊廟所用，故不載。 |
| | Since the Zhou and Sui dynasties, there have been nearly hundreds of miscellaneous wind-and-string tunes; many of them incorporate Xiliang music. Most drum and dance pieces make use of Kucha music, and their structures are all well known to the common people. Only among guqin players are the old sounds of Chu and Han dynasties, as well as Qingdiao and Qindiao, still transmitted. These include Cai Yong's Five Luns and the Four Luns of Chudiao, collectively known as "Jiulun," with this refined music being the only one preserved. Since it was not used in court or ancestral temple rituals, it is therefore not recorded.
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| | 清樂: |
昔唐虞訖三代，舞用國子，欲其早習於道也；樂用瞽師，謂其專一也。漢魏以來，皆以國之賤隸為之，唯雅舞尚選用良家子。國家每歲閱司農戶，容儀端正者歸太樂，與前代樂戶總名「音聲人」。歷代滋多，至有萬數。 |
| | In the past, from Tang and Yu to the Three Dynasties, dances were performed by young men of noble birth; this was intended to have them become early familiar with the Way. Music was conducted by blind musicians (gushi), for they were considered especially devoted and focused. lodash Since the Han and Wei dynasties, these roles had been filled by lowly subjects of the state; only for the refined dances were sons from reputable families still selected. The state annually reviewed households under the Shunong Office, and those with proper appearance and demeanor were assigned to Taoyue; together with the musical families from previous dynasties, they were collectively known as "Yinsheng Ren." Over successive generations, their numbers grew increasingly large, eventually reaching into the tens of thousands.
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| | 坐立部伎: |
安樂，後周武帝平齊所作也。行列方正，象城郭，周代謂之城舞。舞者八十人，刻木為面，狗喙獸耳，以金飾之，垂線為髮，畫襖皮帽，舞蹈姿制猶作羌胡狀。 |
| | Anle was built by Emperor Wu of the Later Zhou during his campaign to conquer Qi. The formations were orderly and square, resembling city walls; in the Zhou dynasty, this was called "Chengwu." Eighty dancers participated, with wooden faces carved, dog-like snouts and beast ears, adorned with gold, hanging threads as hair, wearing painted padded coats and felt hats; their dance postures still resembled the appearance of Qiang and Hu people.
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| | 坐立部伎: |
太平樂，亦謂之五方師子舞。師子摯獸，出於西南夷天竺、師子等國。綴毛為衣，象其俛仰馴狎之容。二人持繩拂，為習弄之狀。五師子各依其方色，百四十人歌太平樂，舞抃以從之，服飾皆作崑崙象。 |
| | Taiping Le was also known as Wufang Shizi Wu, or the Five Directions Lion Dance. The shizi is a fierce beast originating from the southwestern Yi regions and countries such as Tianzhu and Shizi. Fur was attached to make clothing, resembling their appearance of bowing and being tamed. Two people held ropes and brushes, mimicking the act of training them. Five lions each wore colors corresponding to their respective directions; 140 people sang the Taiping Le, dancing and clapping in accompaniment. Their costumes were all modeled after the Kunlun people.
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| | 坐立部伎: |
破陣樂，大唐所造也。太宗為秦王時，征伐四方，人間歌謠有秦王破陣樂之曲。及即位，貞觀七年，製破陣樂舞圖：左圓右方，先偏後伍，魚麗鵝鸛，箕張翼舒，交錯屈伸，首尾迴互，以象戰陳之形。令起居郎呂才依圖教樂工百二十人，被甲執戟而習之。凡為三變，每變為四陣，有來往疾徐擊刺之象，以應歌節。數日而就。發揚蹈厲，聲韻慷慨。歌和云「秦王破陣樂」。饗宴奏之。太宗謂侍臣曰：「朕昔在藩邸，屢有征伐，人間遂有此歌，豈意今日登於雅樂。然其發揚蹈厲，雖異文容，功業由之，致有今日，所以被於樂章，示不忘於本也。」右僕射封德彝進曰：「陛下以聖武戡難，立極安人，功成化定，陳樂象德，實弘濟之盛烈，為將來之壯觀。文容習儀，豈得為比。」太宗曰：「朕雖以武功定天下，終當以文德綏海內。文武之道，各隨其時。公謂文容不如蹈厲，斯為過矣。」 |
| | Po Zhen Yue was created during the Tang dynasty. When Emperor Taizong was Prince of Qin, he campaigned in all directions; there were songs and ballads among the people known as "Qinwang Po Zhen Yue." After ascending the throne, in the seventh year of Zhenguan, he created a dance and diagram for Po Zhen Yue: the left side was round while the right was square; formations began with single ranks then shifted to five-man units. They resembled "Yuli Eguan," spreading like fanned-out grain and wings, interweaving and bending forward and backward, with front and rear parts circling each other, symbolizing the formation of a battlefield. He ordered Qi Ju Lang Lü Cai to teach 120 musicians according to the diagram, having them wear armor and hold halberds while practicing it. It consisted of three changes; each change had four formations, depicting the movements of advancing and retreating at varying speeds as well as striking and thrusting, corresponding to the rhythm of the song. It was completed in several days. The movements were vigorous and forceful, the music grand and stirring. The song was harmonized with the words "Qinwang Po Zhen Le." It was performed at banquets and feasts. Emperor Taizong said to his attendants: "In my past days as a prince, I often led military campaigns; people then composed this song. I never expected it would one day be included in the refined court music." "Yet its vigorous and bold style, though different from refined elegance, was the foundation of my achievements, leading to today's success. Therefore, it is included in musical compositions, as a reminder not to forget one's origins." You Puye Feng Deyi added: "Your Majesty, with your holy martial prowess, quelled difficulties and established the ultimate order to bring peace to the people. With success achieved and civilization stabilized, presenting music that symbolizes virtue is indeed a great achievement of magnanimity, setting an impressive precedent for future generations." "The refined elegance and practiced rituals of the past cannot be compared to this." Emperor Taizong said: "Although I have secured the empire through military might, in the end I must govern the realm with cultural virtue." "The ways of culture and martial strength should each follow their appropriate times." "To say that refined elegance is inferior to vigorous action is an exaggeration."
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| | 坐立部伎: |
慶善樂，亦大唐造也。太宗生於武功慶善宮，既貴，宴宮中，賦詩，被以管絃。舞童六十四人，皆進德冠，紫大袖裙襦，漆髻皮履。舞蹈安徐，以象文教洽而天下安樂也。正至饗宴及國有大慶，奏於庭。 |
| | Qingshan Yue was also created during the Tang dynasty. Emperor Taizong was born in the Qingshan Palace of Wugong; after attaining high status, when he held banquets within the palace and composed poetry, it was set to wind and string instruments. Sixty-four child dancers participated; they all wore Jinde caps, purple long-sleeved skirts and short jackets, lacquered buns, and leather shoes. The dance was graceful and unhurried, symbolizing the harmony of cultural education bringing peace and happiness to the world. It was performed in court during major ceremonies, banquets, or when the nation celebrated significant events.
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| | 坐立部伎: |
大定樂，高宗所造，出自破陣樂。舞者百四十人，被五綵文甲，持槊。歌云「八紘同軌樂」，以象平遼東而邊隅大定也。 |
| | Dading Yue, created by Emperor Gaozong, originated from the Po Zhen Yue dance. One hundred and forty dancers participated, wearing five-colored embroidered armor and holding spears. The song was sung with the lyrics "Bahuang Tonggui Yue," symbolizing the unification of all directions under one rule and the great stability achieved after pacifying Liaodong.
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| | 坐立部伎: |
上元樂，高宗所造。舞者八十人，畫雲衣，備五色，以象元氣，故曰「上元」。 |
| | Shangyuan Yue was created by Emperor Gaozongo. Eighty dancers participated, wearing cloud-patterned robes in five colors to symbolize the primordial qi; hence it was called "Shangyuan."
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| | 坐立部伎: |
聖壽樂，高宗、武后所作也。舞者百四十人，金銅冠，五色畫衣。舞之行列必成字，十六變而畢。有「聖超千古，道泰百王，皇帝萬年，寶祚彌昌」。 |
| | Shengshou Yue was composed by Emperor Gaozong and Empress Wu. One hundred forty dancers participated, wearing golden bronze caps and five-colored painted robes. The formations of the dance must form characters, completing after sixteen changes. They formed phrases such as "The Sage Emperor surpasses all ages," "The Way is harmonious among a hundred kings," "Ten thousand years to the Emperor," and "May his precious legacy flourish ever more."
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| | 坐立部伎: |
光聖樂，玄宗所造也。舞者八十人，鳥冠，五綵畫衣。兼以上元、聖壽之容，以歌王業所興。 |
| | Guangsheng Yue was created by Emperor Xuanzong. Eighty dancers participated, wearing bird-shaped caps and five-colored painted garments. It combined the styles of Shangyuan and Shengshou dances to celebrate the rise of imperial achievements.
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| | 坐立部伎: |
自安樂以後，皆雷大鼓，雜以龜茲樂，聲振百里，並立奏之。其大定樂加金鉦，唯慶善樂獨用西涼樂，最為閑雅。舊破陣、上元、慶善三舞，皆易其衣冠，合之鐘磬，以饗郊廟。自武太后革命，此禮遂廢。 |
| | Since Anle, all performances were accompanied by large drums and interspersed with Kucha music; the sound could be heard for a hundred li, and they were performed standing. The Dading Yue added bronze cymbals; only the Qingshan Yue exclusively used Xiliang music, which was considered most refined and elegant. The old dances of Po Zhen, Shangyuan, and Qingshan were all modified in terms of clothing and headgear, combined with bells and stone chimes for performance at sacrifices to heaven and ancestral temples. After Empress Wu Zetian's revolution, this ritual was abolished.
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| | 坐立部伎: |
讌樂，武德初，未暇改作，每讌享，因隋舊制，奏九部樂。至貞觀十六年十一月，宴百寮，奏十部。先是，伐高昌，收其樂，付太常。至是增為十部伎，其後分為立坐二部。貞觀中，景雲見，河水清。協律郎張文收采古朱雁天馬之義，製景雲河清歌，名曰讌樂，奏之管絃，為諸樂之首：景雲樂，舞八人，花錦袍，五色綾蔥，綵雲冠，烏皮靴；慶善樂，舞四人，紫綾袍，大袖，絲布蔥，假髻；破陣樂，舞四人，緋綾袍，錦衿褾，緋綾蔥；承天樂，舞四人，紫袍，進德冠，並金銅帶。樂用玉磬一架，大方響一架，搊箏一，筑一，臥箜篌一，大箜篌一，小箜篌一，大琵琶一，小琵琶一，大五絃琵琶一，小五絃琵琶一，吹葉一，大笙一，小笙一，大篳篥一，小篳篥一，大簫一，小簫一，正銅鈸一，和銅鈸一，長笛一，尺八一，短笛一，揩鼓一，連鼓一，钉鼓二，浮鼓二，歌二。此樂唯景雲舞近存，餘並亡。 |
| | Yan Yue: In the early years of Wude, there was no time to make changes; at every banquet or feast, they followed the Sui dynasty's old system and performed the Nine Departments of Music. By the eleventh month of the sixteenth year of Zhenguan, during a banquet for officials, ten departments were performed. Previously, after conquering Gaochang, its music was collected and entrusted to the Tai Chang institution. At that time it was expanded into ten musical departments; later these were divided into two categories: standing (Libu) and sitting (Zubu). During the Zhenguan period, a jingyun (auspicious cloud) appeared and the Yellow River turned clear. Xie Lü Lang Zhang Wenshou drew upon the ancient meanings of "Zhu Yan" and "Tian Ma," composing a song called Jingyun Heqing Ge, which he named Yan Yue. It was performed with wind and string instruments and ranked as the foremost among all musical pieces: Jingyun Yue: Eight dancers participated, wearing flowered brocade robes, five-colored silk trousers and skirts, colorful cloud-shaped caps, and black leather boots; Qingshan Yue: Four dancers participated, wearing purple silk robes with wide sleeves, silk cloth trousers and skirts, and wigs; Po Zhen Yue: Four dancers participated, wearing crimson silk robes with embroidered collars and cuffs, and crimson silk trousers and skirts; Chengtian Yue: Four dancers participated, wearing purple robes, Jinde caps, and golden bronze sashes. The music used one set of jade chimes, one large fangxiang (a type of percussion instrument), one zouzheng, one zu, one horizontal konghou, one large konghou, one small konghou, one large pipa, one small pipa, one large five-string pipa, one small five-string pipa, one leaf-blown flute, one large sheng, one small sheng, one large bili, one small bili, one large xiao, one small xiao, one zhongtongba (large copper cymbal), one hetongba (medium copper cymbal), one changdi (long bamboo flute), one chiba, one duandou (short flute), one kaigu (a type of drum), one liangu (another type of drum), two dinggu (drums with nails), two fugu (floating drums), and two singers. Of this music, only the Jingyun dance remains somewhat preserved; the rest have been lost.
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| | 坐立部伎: |
長壽樂，武太后長壽年所造也。舞十有二人，畫衣冠也。 |
| | Changshou Yue was created during Empress Wu Zetian's Changshou reign period. Twelve dancers participated, wearing painted clothing and headgear.
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| | 坐立部伎: |
天授樂，武太后天授年所造也。舞四人，畫衣五綵，鳳冠。 |
| | Tianshou Yue was created during the Tianshou reign period of Empress Wu Zetiana. Four dancers participated, wearing five-colored painted clothing and phoenix-shaped caps.
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| | 坐立部伎: |
鳥歌萬歲樂，武太后所造也。時宮中養鳥能人言，又常稱萬歲，為樂以象之。舞三人，緋大袖，並畫⒧鵒，冠作鳥象。今嶺南有鳥，似⒧鵒，養之久，則能言，名吉了。 |
| | Niaoge Wansui Yue was created by Empress Wu Zetians. At that time, birds in the palace were trained to speak human words and often cried out "Wansui" (ten thousand years of longevity), so a musical piece was composed to depict this. Three dancers participated, wearing crimson wide-sleeved robes and painted plum-and-cherry patterns; their caps were shaped like birds. Today, in Lingnan there is a bird similar to the plum-and-cherry bird; if kept for a long time, it can speak. It is called Jieliao.
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| | 坐立部伎: |
龍池樂，玄宗龍潛之時，宅於崇慶坊，宅南坊人所居變為池，瞻氣者亦異焉。故中宗末年，汎舟池內。玄宗正位，以宅為宮，池水逾大，瀰漫數里，為此樂以歌其祥也。舞有七十二人，冠飾以芙蓉。 |
| | Longchi Yue: When Emperor Xuanzong was still a prince, he lived in Chongqing Fang. The people living in the southern neighborhood of his residence transformed their area into a pond; diviners also found this to be an auspicious omen. Therefore, toward the end of Emperor Zhongzong's reign, he took boat rides within the pond. When Emperor Xuanzong ascended the throne, he converted his former residence into a palace. The pond's water expanded significantly, spreading over several li in area; this music was composed to celebrate its auspiciousness. The dance involved seventy-two dancers, their headgear adorned with lotus flowers.
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| | 坐立部伎: |
小破陣樂，玄宗所作也。生於立部伎破陣樂。舞四人，金甲冑。 |
| | Xiao Po Zhen Yue was composed by Emperor Xuanzou. It originated from the Standing Department's Po Zhen Yue dance of the Tang dynasty. Four dancers participated, wearing golden armor and helmets.
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| | 坐立部伎: |
自長壽樂以下，皆用龜茲樂，舞人皆著靴，唯龍池樂備用雅樂，而無鐘磬，舞人躡履。 |
| | From Changshou Yue onward, all used Kucha music; dancers wore boots. Only Longchi Yue retained the use of courtly (Yale) music without bells or stone chimes, and its dancers wore soft shoes.
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| | 四方樂: |
周官：「韎師掌教韎樂，祭祀則帥其屬而舞之，大饗亦如之。」「旄人掌教夷樂，凡四方之以舞仕者屬焉。」又有「鞮鞻氏掌四夷之樂，與其聲歌，祭祀則㈲而歌之，讌亦如之」。作先王樂，貴能包而用之。納四夷之樂者，美德廣之所及也。東夷之樂曰侏離，南蠻之樂曰任，西戎之樂曰禁，北狄之樂曰昧，其聲不正，作之四門之外，各持其方兵，獻其聲而已。自周衰，此禮則廢。 |
| | Zhou Guan: "Mai Shi zhang jiao Mai Yue, at sacrifices he would lead his subordinates in dancing, The great sacrifice was also conducted in the same manner." "Mao Ren zhang jiao Yi Yue, "All those from all directions who serve through dancing are under his jurisdiction." There were also the "Dilu Shi" "in charge of the music of the four Yi people, as well as their songs; at sacrifices they would dance and sing it, and during banquets they did so in the same way." Creating music of previous kings, nobles were able to embrace and use it. Those who incorporate the music of the four Yi are within the reach of broad virtue. The music of the eastern Yi is called Zhu Li, The music of the southern Man is called Ren, The music of the western Rong is called Jin, The music of the northern Di is called Mei, Their music is not orthodox, so it was performed outside the four gates; each held their respective directional weapons and merely presented their sounds. Since the decline of the Zhou dynasty, this ritual has been abandoned.
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東夷二國。高麗樂，工人紫羅帽，飾以鳥羽，黃大袖，紫羅帶，大口蔥，赤皮闪，五色縚繩。舞者四人，椎髻於後，以絳抹額，飾以金璫。二人黃裙襦，赤黃蔥；二人赤黃裙，襦蔥。極長其袖，烏皮闪，雙雙併立而舞。樂用彈箏一，搊箏一，臥箜篌一，豎箜篌一，琵琶一，五絃琵琶一，義觜笛一，笙一，橫笛一，簫一，小篳篥一，大篳篥一，桃皮篳篥一，腰鼓一，齊鼓一，擔鼓一，貝一。大唐武太后時尚二十五曲，今唯能習一曲，衣服亦寖衰敗，失其本風。百濟樂，中宗之代，工人死散。開元中，岐王範為太常卿，復奏置之，是以音伎多闕。舞者二人，紫大袖裙襦，章甫冠，皮履。樂之存者，箏、笛、桃皮篳篥、箜篌、歌。 |
| | Two states of the eastern Yi. Gaoli Yue, the performers wore purple silk hats decorated with bird feathers, yellow long-sleeved robes, purple silk sashes, large mouth chong (a type of ornament), red leather shoes, and five-colored ropes. Four dancers, with their hair piled up in a knot at the back, wore crimson headbands across their brows and were adorned with golden earrings. Two of them wore yellow skirts and short jackets, red-yellow chong; two wore crimson-yellow skirts, short jackets, and chong. Their sleeves were extremely long; they wore black leather shoes and danced in pairs standing side by side. The music used one danzheng, one chouzheng, one horizontal konghou, one vertical konghou, one pipa, one five-string pipa, one Yizui dizi, one sheng, one transverse flute, one xiao, one small bili, one large bili, one taopi bili, one waist drum, one Qi drum, one dan gu (shoulder drum), and one conch. During the reign of Empress Wu Zetian of the Tang dynasty, twenty-five pieces were popular; now only one piece can still be performed. The clothing has also gradually deteriorated and lost its original style. Baekje Yue: during the reign of Emperor Zhongzong, the performers died or dispersed. In the Kaiyuan period, Qi Wang Fan served as Taichang Qing and proposed to restore it; therefore, many of its musical pieces and performances were missing. Two dancers wore purple long-sleeved skirts and jackets, Zhangfu hats, and leather shoes. The surviving music includes the zheng, dizi, taopi bili, konghou, and singing.
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| | 四方樂: |
南蠻二國。扶南樂，舞二人，朝霞衣，朝霞行纏，赤皮鞋。隋代全用天竺樂，今其存者有羯鼓、都曇鼓、毛員鼓、簫、橫笛、篳篥、銅鈸、貝。天竺樂，樂工皁絲布机頭巾，白練襦，紫綾蔥，緋帔。舞二人，辮髮，朝霞袈裟，若今之僧衣也。行纏，碧麻鞋。樂用羯鼓、毛員鼓、都曇鼓、篳篥、橫笛、鳳首箜篌、琵琶、五絃琵琶、銅鈸、貝。其都曇鼓今亡。 |
| | Two states of the southern Man. ල Fu Nan Yue: two dancers wore chaoxia clothing and chaoxia sashes wrapped around their waists, with red leather shoes. During the Sui dynasty, Indian music was fully employed; now what remains includes the jia gu (donkey skin drum), dou tan gu, maoyuan gu, xiao, transverse flute, bili, copper cymbals, and conch. Tianzhu Yue: the musicians wore black silk cloth headscarves, white hemp short jackets, purple brocade chong (ornaments), and crimson pefs. Two dancers with braided hair wore chaoxia saffrons, similar to the robes of today's monks. They wrapped their waists with sashes and wore green hemp shoes. The music used jia gu, maoyuan gu (drum), dou tan gu (drum), bili, transverse flute, phoenix-headed konghou, pipa, five-string pipa, copper cymbals, and a conch. The dou tan gu is now lost.
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西戎五國。高昌樂，舞二人，白襖錦袖，赤皮靴、皮帶，紅抹額。樂用荅臘鼓一，腰鼓一，雞婁鼓一，羯鼓一，簫一，橫笛二，篳篥二，五絃琵琶二，琵琶二，銅角一，豎箜篌一，笙一。龜茲樂，工人皁絲布頭巾，緋絲布袍，錦袖，緋布蔥。舞四人，紅抹額，緋襖，白蔥帑，烏皮靴。樂用豎箜篌一，琵琶一，五絃琵琶一，笙一，橫笛一，簫一，篳篥一，荅臘鼓一，腰鼓一，羯鼓一，毛員鼓一，雞婁鼓一，銅鈸二，貝一。疏勒樂，工人皁絲布頭巾，白絲布袍，錦衿褾，白絲布蔥。舞二人，白襖，錦袖，赤皮靴，赤皮帶。樂用豎箜篌一，琵琶一，五絃琵琶一，橫笛一，簫一，篳篥一，荅臘鼓一，腰鼓一，羯鼓一，雞婁鼓一。康國樂，工人皁絲布頭巾，緋絲布袍，錦衿。舞二人，緋襖，錦袖，綠綾渾襠蔥，赤皮靴，白蔥帑。舞急轉如風，俗謂之胡旋。樂用笛二，正鼓一，和鼓一，銅鈸二。安國樂，工人皁絲布頭巾，錦衿褾，紫袖蔥。舞二人，紫襖，白蔥帑，赤皮靴。樂用琶琶一，五絃琶琵一，豎箜篌一，簫一，橫笛一，大篳篥一，雙篳篥一，正鼓一，銅鈸二，箜篌一。 |
| | Five states of the western Rong. Gaochang Yue: two dancers wore white ao with brocade sleeves, red leather boots, leather belts, and red headbands. The music used one dala gu (drum), one waist drum, one jilou gu (drum), one jia gu (donkey-skin drum), one xiao, two transverse flutes, two bili, two five-string pipas, two pipas, one copper horn, and one vertical konghou. One sheng. Kucha Yue: the musicians wore black silk headscarves, crimson silk robes with brocade sleeves and crimson cloth chong (ornaments). Four dancers wore red headbands, crimson ao, white chong with trousers, and black leather boots. The music used one vertical konghou, one pi pa, one five-string pi pa, one sheng, one horizontal dizi, one xiao, one bili, one dala gu (drum) , one waist drum, one jia gu (donkey-skinned drum), and one maoyuan gu. One jilou gu, two copper cymbals, one conch. Shule Yue: the musicians wore black silk headbands, white silk robes with brocade collars and cuffs, and white silk chong (ornaments). Two dancers wore white ao, brocade sleeves, red leather shoes, and red leather belts. The music used one vertical konghu, one pipa, one wuxian pipa, one transverse dizi, one xiao flute, one bili reed pipe, one dala drum, one waist drum, one jigu donkey-skin drum, and one jilou drum. Kang Guo Yue: the musicians wore black silk headcloths, crimson silk robes with brocaded collars. Two dancers wore crimson ao, brocade sleeves, green satin full-bottomed chong (ornaments), red leather boots and white trousers. The dance moves rapidly like the wind; it is commonly called "Huxuan." The music used two dizi, one zheng gu (drum), one he gu (drum), and two copper cymbals. An Guo Yue: the musicians wore black silk head cloths, brocade collars and sleeves, purple sleeve ornaments. Two dancers wore purple ao, white trousers with chong (ornaments), and red leather boots. The music used one pipa, one five-stringed pipa, one vertical konghou (harp), one xiao (vertical bamboo flute), one transverse dizi (bamboo flute), one large bili (oboe), one double bili, one zheng gu drum, two copper cymbals and one konghou.
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乞寒者，本西國外蕃之樂也。神龍二年三月，并州清源縣令呂元泰上疏曰：「臣謹按洪範八政，曰『謀時寒若』。君能謀事，則寒順之。何必裸露形體，澆灌衢路，鼓舞跳躍而索寒也。禮記曰：『立秋之日行夏令，則寒暑不節。』夫陰陽不調，政令之失也；休咎之應，君臣之感也。理均影響，可不戒哉！」景雲二年，左拾遺韓朝宗諫曰：「傳曰，辛有適伊川，見被髮於野者，曰不及百年，此其戎乎。其禮先亡矣。後秦晉遷陸渾之戎於伊川，以其中國之人，習戎狄之事。一言以貫，百代可知。今之乞寒，濫觸胡俗，伏願三思，籌其所以。」至先天二年十月，中書令張說諫曰：「韓宣適魯，見周禮而嘆；孔子會齊，數倡優之罪。列國如此，況天朝乎！今外國請和，選使朝謁，所望接以禮樂，示以兵威。雖曰戎夷，不可輕易，焉知無駒支之辯，由余之賢哉！且乞寒、潑胡，未聞典故，裸體跳足，盛德何觀；揮水投泥，失容斯甚。法殊魯禮，褻比齊優，恐非干羽柔遠之義，樽俎折衝之道。願擇芻言，特罷此戲。」至開元元年十二月敕：「臘月乞寒，外蕃所出，漸浸成俗，因循以久。自今以後，無問蕃漢，即宜禁斷。」 |
| | Qihan is originally music from the western foreign tribes. In the second year of Shenlong, on the third month (April 21, 706 AD), Lü Yuantai, the county magistrate of Qingyuan in Bingzhou, submitted a memorial stating: "I carefully examined Hongfan's eight policies, which state 'plan for cold as if it were warm.' If the ruler can plan affairs well, then even cold will follow in harmony. Why must one expose their body, pour water on the roads, and dance and leap to seek cold? The Book of Rites says: "On the day of Lichun (Start of Spring), if summer commands are carried out, then cold and heat will be unregulated." Imbalance between yin and yang is a failure in governance. The response of blessings or misfortunes is the result of the ruler's and ministers' influence. Their effects are as inevitable as echoes; can we not take caution!" In the second year of Jingyun, Han Chaozong, a Left Shiyi (an official title), advised: "The Classic says that Xin You went to Yichuan and saw people with disheveled hair in the fields. He said, 'Within a hundred years, this will become Rong territory.'" Their rituals had already perished long ago. Later Qin and Jin relocated the Lu hun Rong to Yichuan, where they became part of the Chinese people but adopted the customs of the Rong and Di. A single statement can penetrate through time; a hundred generations are thus understood. The current practice of Qihan recklessly imitates Hu customs. I humbly request Your Majesty to think thrice and carefully consider its reasons." By the second year of Tianbao, in the tenth month (November 23, 713 AD), Zhang Yue, Chancellor of Zhongshu, advised: "Han Xuan went to Lu and saw Zhou Li (Rites of Zhou) and sighed; Confucius met with Qi and counted the sins of performers. All these states acted in such a way; how much more so should the heavenly court! Now that foreign countries are requesting peace, envoys have been selected to pay homage. What we hope for is to receive them with rites and music, and to demonstrate military might. Although they are called Rong and Yi, we must not treat them lightly; how do we know there is no Juzhi the eloquent or Youyu the virtuous among them! Moreover, Qihan and Po Hu are not mentioned in any classical records; to expose one's body and jump about is no way to observe noble virtue; to splash water onto the mud is a great loss of dignity. This practice differs from Lu Li (Lu's rites) and is as vulgar as Qi's performers; it may not conform to the meaning of using feathers and drums to pacify distant lands, nor does it follow the way of resolving conflicts through wine vessels and sacrificial tables. I humbly request that Your Majesty consider this humble advice and specially abolish this performance." By the first year of Kaiyuan, in the twelfth month (January 20, 714 AD), an imperial edict stated: "The Qihan ritual during the 腊 month originated from foreign tribes and gradually became a custom, passed down for a long time. From now on, regardless of whether it is among the foreign or Han people, this should be banned."
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北狄三國。北狄樂，皆為馬上樂也。鼓吹本軍旅之音，馬上奏之，故自漢以來，北狄樂總歸鼓吹署。後魏樂府始有北歌，即魏真人歌是也。代都時，命掖庭宮女晨夕歌之。周、隋代，與西涼樂雜奏。今存者五十三章，其名目可解者六章：慕容可汗、吐谷渾、部落稽、鉅鹿公主、白淨王太子、企俞也。其餘不可解，咸多可汗之詞。按今大角，即後魏代簸邏迴是也，其曲亦多可汗之詞。北虜之俗，皆呼主為可汗。吐谷渾又慕容別種，如此歌是燕、魏之際鮮卑歌，其詞虜音，不可曉。梁有鉅鹿公主歌詞，似是姚萇時歌，其詞華音，與北歌不同。梁樂府鼓吹又有大白淨皇太子、小白淨皇太子、企俞等曲。隋鼓吹有白淨王太子曲，與北歌校之，其音皆異。大唐開元中，歌工長孫元忠之祖受業於侯將軍貴昌，并州人也，亦代習北歌。貞觀中，有詔令貴昌以其聲教樂府。元忠之家代相傳如此，雖譯者亦不能通知其詞，蓋年歲久遠，失其真矣。絲桐，唯琴曲有胡笳聲大角，金吾所掌。 |
| | Three states of the northern Di. The music of the northern Di was all horseback music. Drum and bugle music originally belonged to military sounds, played while on horseback; therefore since the Han dynasty, northern Di music has always been under the Drum and Bugle Office. The Yuefu of Later Wei first had northern songs; these were known as the Wei Zhenren Ge (Songs of Wei's True Person). During the Daidu period, palace women in Yeting were ordered to sing it at dawn and dusk. In the Zhou and Sui dynasties, it was played together with Xiliang Yue (Xiliang music). Now fifty-three chapters remain, of which the names can be interpreted for six: Murong Khan, Tuyuhun, Boluoji, Julu Gongzhu (Princess Julu), Baijing Wang Taizi (Crown Prince Baijing), and Qiyu. The rest cannot be interpreted; they are mostly songs referring to khans. According to the current da jiao (a musical instrument), it is the same as Houwei Dailuo Hui, and its melody also contains many references to khans. Among northern nomadic customs, rulers are all called khan. Tuyuhun was another branch of the Murong, so these songs are Xianbei songs from the time of Yan and Wei; their words were in nomadic language and cannot be understood. The Southern Liang dynasty had the lyrics of Julu Gongzhu Ge, which seem to be songs from the time of Yao Chang; their words are in a refined tone and differ from northern songs. The Liang Yuefu Drum and Bugle music also included the pieces Da Baijing Huang Taizi, Xiao Baijing Huang Taizi (Great and Small Prince Baijing), Qiyu, etc. The Sui Drum and Bugle had the piece "Baijing Wang Taizi Qu," which when compared to northern songs, was entirely different in tone. In the Kaiyuan era of the Tang dynasty, Ge Gong Zhangsun Yuanzhong's grandfather studied under General Hou Guichang, a native of Bingzhou; he also inherited and practiced northern songs through generations. In the Zhenguan era, an imperial decree ordered Guichang to teach his musical style to the Yuefu (music bureau). The Zhangsun Yuanzhong family passed it down through generations in this way; even translators could not fully understand the lyrics, as time had long since eroded their original meaning. Among string and zither music, only qin pieces include the Hu Jia (northern lute) sound of Da Jiao, which is under the jurisdiction of Jinwu.
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龜茲樂者，起自呂光破龜茲，因得其聲。呂氏亡，其樂分散，後魏平中原，復獲之。有曹婆羅門，受龜茲琵琶於商人，代傳其業，至於孫妙達，尤為北齊文宣所重，常自擊胡鼓和之。周武帝聘突厥女為后，西域諸國來媵，於是有龜茲、疏勒、安國、康國之樂。帝大聚長安胡兒，羯人白智通教習，頗雜以新聲。 |
| | The Kucha Yue originated when Lü Guang defeated Kucha and thus acquired its music. After the fall of the Lü clan, their music dispersed; later, when the Northern Wei pacified Central China, they once again acquired it. There was Cao Populmen, who learned the Kucha pipa from a merchant and passed down his craft through generations; it reached Sun Miaoda, who was especially valued by Wenxuan of Northern Qi. He often played the Hu drum to accompany himself. Emperor Wu of Zhou married a Turk woman as empress, and various Western Regions states sent attendants to accompany her; thus the music of Kucha was introduced. The music of Shule, Anguo, and Kangguo. The emperor gathered many Hu children in Chang'an; the Jie person Bai Zhitong taught and trained them, incorporating quite a bit of new music.
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初，張重華時，天竺重譯致樂伎，後其國王子為沙門來遊中土，又得傳其方伎。宋代得高麗、百濟伎。魏平馮跋，亦得之而未具。周師滅齊，二國獻其樂，合西涼樂，凡七部，通謂之國伎。隋文帝平陳，得清樂及文康禮畢曲，而黜百濟。至煬帝，乃立清樂、龜茲、西涼、天竺、康國、疏勒、安國、高麗、禮畢為九部。平林邑國，獲扶南工人及其匏瑟琴，陋不可用，但以天竺樂傳寫其聲，而不列樂部。 |
| | Initially, during the reign of Zhang Chonghua, music and performers from Tianzhu were sent through multiple translations; later, a prince from that country came to Central China as a Buddhist monk, and thus its musical arts were further transmitted. The Song dynasty acquired the music and performing arts of Goryeo (Korea) and Baekje. When the Northern Wei defeated Fengba, they also obtained it but did not have a complete set. When Zhou's forces destroyed Qi, the two states presented their music, which was combined with Xiliang Yue, making a total of seven divisions; they were collectively called Guoji (national performing arts). Emperor Wen of Sui pacified Chen, and obtained Qing Yue as well as the Wenkang Libi Qu (Ritual Completion Tune), while abolishing Baekje's music. By Emperor Yang, the nine divisions were established: Qing Yue, Kucha, Xiliang, Tianzhu, Kangguo, Shule, Anguo, Goryeo, and Libi. After pacifying Linyi Guo (Funan), they captured Funan artisans and their gourds, se (a type of zither), and qin; these were crude and unusable. Instead, the music was transcribed according to Tianzhu Yue, but it was not included in an official musical division.
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高昌樂者，西魏與高昌通，始有高昌伎。隋文帝開皇六年，高昌獻聖明樂曲，帝令知音者於官所聽之，歸而肄習，及客獻，先於前奏之，胡夷大驚。大唐平高昌，盡收其樂，又進讌樂，而去禮畢曲。今著令者，唯十部。 |
| | Gaoshang Yue (Gaochang music) originated when the Western Wei established contact with Gaochang, and thus Gaochang performing arts first appeared. In the sixth year of Kaihuang, Emperor Wen of Sui, Gaochang presented the Shengming Yue Qu (Saintly Enlightenment Music Tune). The emperor ordered those knowledgeable in music to listen to it at court; after returning, they practiced and rehearsed. When the foreign envoys performed their own offerings, this piece was played first, greatly surprising the Hu Yi (barbarian guests). When the Tang dynasty pacified Gaochang, they fully collected its music and presented it as a banquet performance, but removed the Libi Qu. Now, only ten divisions are officially recorded in imperial edicts.
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南蠻、北狄國俗，皆隨髮際斷其髮，今舞者咸用繩圍首，反約髮杪，內於繩下。 |
| | The customs of southern Yi and northern Di peoples all involve cutting their hair at the temples; today, dancers universally use ropes to encircle their heads, binding the ends of their hair inward beneath the rope.
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又有新聲自河西至者，號胡音聲，與龜茲樂、散樂俱為時重，諸樂咸為之少寢。 |
| | There were also new musical styles that came from the Hexi region, called "Hu Yin Sheng" (barbarian tones), which together with Kucha Yue and San Yue (miscellaneous music) were highly valued in their time; all other forms of music became somewhat less prominent.
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散樂，非部伍之聲，俳優歌舞雜奏。 |
| | Sancelve, not a sound of military formations, were performances by actors and dancers with miscellaneous music.
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後漢天子臨軒設樂，舍利獸從西方來，戲於殿前，激水化成比目魚，跳躍嗽水，作霧翳日，而化成黃龍，長八丈，出水遊戲，輝耀日光。以兩大繩繫兩柱，相去數丈，二倡女對舞行於繩上，切肩而不傾。如是雜變，總名百戲。 |
| | In the Later Han, when an emperor stood at the xuan pavilion and music was set up, a Sharili beast came from the west. It performed in front of the palace, splashing water that transformed into a pair-eyed fish. The fish leaped and spouted water, creating mist that obscured the sun, then changed into a yellow dragon eight zhang long. The dragon emerged from the water to play, its radiance shining under the sunlight. Two large ropes were tied to two pillars, several zhang apart; two female performers danced facing each other while walking on the rope, their shoulders nearly touching without losing balance. Such varied performances were collectively called Baixi.
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江左猶有高渉紫鹿、跂行鱉食、齊王捲衣、庐鼠、夏育扛鼎、巨象行乳、神龜抃戲、背負靈岳、桂樹白雪、畫地成川之伎。 |
| | In the southern regions of the Yangtze, there were still performances such as Gao She Zi Lu, Qi Xing Bie Shi, Qi Wang Juan Yi, Lu Shu, Xia Yu Gang Ding, Ju Xiang Xing Ru, Shen Gui Bian Xi, Bei Fu Ling Yue, Gui Shu Bai Xue, and Hua Di Cheng Chuan.
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晉成帝咸康七年，散騎侍郎顧臻表曰：「末代之樂，設禮外之觀，逆行連倒。四海朝覲，言觀帝庭，而足以蹈天，頭以履地，反天地之順，傷彝倫之大。」乃命太常悉罷之。其後復高渉紫鹿。又有天台山伎。 |
| | In the seventh year of Xiangkang reign period of Emperor Cheng of Jin, Sanqi Shilang Gu Zhen presented a memorial stating: "The music of later generations set up spectacles outside the rites, with performances going in reverse and upside down. "From all directions of the four seas, people came to pay homage and observe in the imperial court. Yet they were sufficient to stomp on heaven with their feet and tread the earth with their heads, going against the natural order of heaven and earth and injuring the great norms of human relationships." He then ordered Taichang to completely abolish them. Afterward, the performance of Gao She Zi Lu was resumed. There were also performances from Tiantai Mountain.
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齊武帝嘗遣主書董仲民，按孫興公賦造莓苔石橋、道士捫翠屏之狀，尋省焉。 |
| | Emperor Wu of Qi once sent Zhushu Dong Zhongmin to investigate the description in Sun Xinggong's rhapsody about creating a mossy stone bridge and the scene of a Taoist priest touching the emerald screen, seeking to verify it.
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梁又設跳鈴、跳劍、擲倒、獮猴幢、青紫鹿、緣高渉、變黃龍弄龜等伎。陳氏因之。 |
| | The Liang dynasty also established performances such as Tiaoling, Tiaojian, Zhidao, Mihou Chuang, Qingzi Lu, Yuan Gao She, and Bian Huanglong Nong Gui. The Chen dynasty followed this tradition.
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後魏道武帝天興六年冬，詔太樂、總章、鼓吹增修雜戲，造五兵、角觝、麒麟、鳳凰、仙人、長蛇、白象、白武及諸畏獸、魚龍、辟邪、鹿馬仙人車、高渉百尺、長趫、緣幢、跳丸，以備百戲。大饗設之於殿前。明元帝初，又增修之，撰合大曲，更為鐘鼓之節。 |
| | In the sixth year of Tianxing reign period of Emperor Daowu of Later Wei, an edict was issued ordering Taoyue, Zongzhang, and Guchui to enhance and revise miscellaneous plays. They created performances involving five kinds of weapons, jiao di wrestling, qilin, phoenix, immortals, long snakes, white elephants, white Wu, various fearsome beasts, yulong fish, bixie, deer-horse immortal chariots, climbing a hundred chi high, chao acrobatics, climbing poles, and juggling balls to complete the Baixi repertoire. During grand banquets, these performances were set up in front of the hall. At the beginning of Emperor Mingyuan's reign, they further revised and improved them, compiling grand compositions and adjusting the rhythms of bells and drums.
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北齊武平中，有魚龍爛漫、俳優、侏儒、山車、巨象、拔井、種瓜、殺馬、剝驢等，奇怪異端，百有餘物，名為百戲。 |
| | During the Wuping period of Northern Qi, there were performances such as Yulong Laman, actors and dancers, midgets, mountain chariots, giant elephants, well-pulling, melon planting, horse killing, donkey peeling, and other strange and bizarre acts. There were more than a hundred different items, collectively named Baixi.
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後周武帝保定初，詔罷元會殿庭百戲。宣帝即位，鄭譯奏徵齊散樂，並會京師為之。蓋秦角觝之流也。而廣召雜伎，增修百戲，魚龍漫衍之伎常陳於殿前，累日繼夜，不知休息 |
| | In the first year of Bao Ding reign period of Emperor Wu of Later Zhou, an edict was issued to abolish the Baixi performances in the court hall for the New Year's audience. After Emperor Xuan took the throne, Zheng Yi presented a memorial requesting to summon Sancelve performers from Qi and gather them in the capital city for performances. These were essentially descendants of the Qin dynasty's jiaodi wrestling tradition. They also widely recruited miscellaneous performances and expanded the Baixi repertoire, with Yulong manyan acts regularly displayed in front of the hall for days on end, continuing through the nights without rest.
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隋文帝開皇初，周、齊百戲並放遣之。煬帝大業二年，突厥染干來朝，帝欲誇之，總追四方散樂，大集東都。於華林苑積翠池側，帝令宮女觀之。有舍利、繩柱等，如漢故事。又為夏育扛鼎，取車輪、石臼、大盆器等，各於掌上而跳弄之。并二人戴竿，其上舞，忽然騰透而換易。千變萬化，曠古莫儔。染干大駭之。自是皆於太常教習。每歲正月，萬國來朝，留至十五日，於端門外、建國門內，綿渉八里，列為戲場。百官起棚夾路，從昏達曙，以縱觀之，至晦而罷。伎人皆衣錦繡繒綵。其歌者多為婦人服，鳴環佩，飾以花髦者，殆三萬人。初課京兆、河南製此服，而兩京繒錦為之中虛。六年，諸夷大獻方物，突厥啟人以下皆國主親來朝賀。乃於天津街盛陳百戲，自海內凡有伎藝，無不總萃。崇侈器翫，盛飾衣服，皆用珠翠金銀，錦罽絺繡。其營費鉅億萬。關西以安德王雄總之，東都以齊王暕總之，金石匏革之聲，聞數十里外。彈絃擫管以上，萬八千人。大列炬火，光燭天地，百戲之盛，振古無比。自是每年以為常焉。 |
| | In the early Kaihuang period of Emperor Wen of Sui, all Baixi performers from the Zhou and Qi dynasties were dismissed. In the second year of Daye reign period of Emperor Yang, Tujue Rangan came to pay homage. The emperor wanted to impress him and summoned all Sancelve performers from various regions, gathering them in Dongdu. At the side of Jicui Pool in Huayin Yuan, the emperor ordered palace ladies to watch the performances. There were Sharili and rope-pole acts as in the old Han dynasty traditions. They also performed Xia Yu's act of carrying tripods, taking items such as cart wheels, stone mortars, and large basins, each of which they juggled on their palms. Two people wore poles on their heads while dancers performed on top; suddenly they would leap through and switch places. With countless transformations, these performances were unparalleled in ancient times. Rangan was greatly astonished by them. From then on, all these performances were taught and trained under Taichang. Every year in the first lunar month, envoys from all nations came to pay homage and were kept until the fifteenth day. The performance grounds were set up outside Duanmen Gate and inside Jianguo Gate, stretching for eight li as a continuous stage area. All government officials erected viewing platforms along the road; from dusk until dawn, they watched these performances continuously, which lasted until the last day of the lunar month before being dismissed. All performers wore clothes made of brocade and colorful silk. Most of the singers were dressed as women, wearing bells and pendants, decorated with floral headdresses; there were nearly 30,000 people. Initially, Jingzhao and Henan prefectures were ordered to produce these costumes, which caused the silk and brocade in both capitals to be completely depleted. In the sixth year, various foreign tribes made grand tributes of local products; Tujue Qiren and those below him were all national rulers who personally came to pay homage and celebrate. The emperor then displayed the Baixi performances on Tianjin Street, where all kinds of performing arts from within the empire were gathered in full. They used luxurious instruments and ornaments, with clothes richly decorated using pearls, emerald feathers, gold, silver, brocade, felt, and embroidered silk. The cost of these performances was in the tens of millions. In Guanxi, Prince Ande Xiong was in charge; in Dongdu, Prince Qi Jian oversaw it. The sounds of instruments made from metal, stone, gourds, and leather could be heard for dozens of li outside the area. Those playing stringed or wind instruments alone numbered 18,000 people. Large torches were lit, their light illuminating the heavens and earth; the grandeur of these Baixi performances was unprecedented in ancient times. From then on, this became an annual tradition.
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大抵散樂雜戲多幻術，皆出西域，始於善幻人至中國。漢安帝時，天竺獻伎，能自斷手足，刳剔腸胃，自是歷代有之。大唐高宗惡其驚人，敕西域關津，不令入中國。睿宗時，婆羅門獻樂，舞人倒行，而以足舞於極銛刀鋒，倒植於地，抵目就刃，以歷臉中；又植於背下，吹篳篥者立其腹上，曲終而亦無傷。又伏伸其手，兩人躡之，旋身繞手，百轉無已。漢代有橦末伎，又有盤舞。晉代加之以杯，謂之杯盤舞。梁有長蹻伎、跳鈴伎、躑倒伎、跳劍伎，今並存。又有舞輪伎，蓋今之戲車輪者。透三峽伎，蓋今之透飛梯之類也。高渉伎，蓋今之戲繩者也。梁有獼猴幢伎，今有緣竿伎，又有獼猴緣竿伎，未審何者為是。又有弄艶珠伎、丹珠伎。歌舞戲，有大面、撥頭、踏搖娘、窟鳇子等戲。玄宗以其非正聲，置教坊於禁中以處之。婆羅門樂，用漆篳篥二，齊鼓一。散樂，用橫笛一，拍板一，腰鼓三。其餘雜戲，變態多端，皆不足稱也。 |
| | Generally speaking, Sancelve and miscellaneous plays mostly involved illusionist tricks; they originated from the Western Regions and began when skilled illusionists arrived in China. During Emperor An of Han's reign, Tianzhu presented performers who could sever their own hands and feet or cut open their intestines. Since then, such performances existed in every dynasty. Emperor Gaozong of the Tang dynasty disliked these shocking performances and issued an order to border checkpoints at the Western Regions, forbidding them from entering China. During the reign of Emperor Ruizong, Parvamana presented music and dance. Dancers walked backward on extremely sharp knife edges with their feet, stood upside down on the ground, and approached the blade with their eyes to let it pass through their faces; They also stood upside down on their backs, and a bili flute player stood on their stomachs. When the music ended, they were unharmed. They also stretched out their hands while lying down; two people stepped on them and spun around the hands, circling countless times without stopping. The Han dynasty had Chongmo performances, as well as Panwu dances. During the Jin dynasty, cups were added to it, and it was called Beipan dance. The Liang dynasty had performances such as Changqiao, Tiaoling, Zhidao, and Tiaojian; these are still preserved today. There was also the Wulun performance, which is essentially what today's performers do with cartwheels. Tousaxia performance is similar to today's performances of passing through flying ladders. Gao She performance is essentially what today's tightrope walkers do. The Liang dynasty had Mihou Chuang performances; today there are Yuan Gan performances, as well as Mihou Yuan Gan performances. It is unclear which one is accurate. There were also Nong Yan Zhu and Danzhu performances. Among the music, dance, and plays, there were Da Mian, Bo Tou, Ta Yaoniang, Kuhuangzi, and other performances. Emperor Xuanzong considered these not to be proper music and established the Jiaofang within the palace to house them. Parvamana music used two lacquered bili flutes and one Qi drum. Sancelve music used one transverse flute, one papan clapper board, and three waist drums. Other miscellaneous plays had many varied forms but were not worth mentioning.
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大面出於北齊。蘭陵王長恭才武而貌美，常著假面以對敵。嘗擊周師金墉城下，勇冠三軍，齊人壯之，為此舞以效其指麾擊刺之容，謂之蘭陵王入陣曲。 |
| | Da Mian originated in the Northern Qi dynasty. Lanling Wang Changgong was both talented and brave with a handsome appearance, often wearing a mask when facing the enemy. He once fought against the Zhou army under Jinyong Cheng, his bravery surpassing that of all three armies. The people of Qi admired him and created a dance to imitate his commanding gestures and sword fighting style, calling it "The Lanling Wang Enters the Battlefield" (Lanlingwang Ru Zhen Qu).
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撥頭出西域。胡人為猛獸所噬，其子求獸殺之，為此舞以象也。 |
| | Bo Tou originated from the Western Regions. A Hu person was devoured by a fierce beast; his son sought out the animal and killed it, so this dance was created to depict that event.
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踏搖娘生於隋末。河內有人醜貌而好酒，常自號郎中，醉歸必毆其妻。妻美色善自歌，乃歌為怨苦之詞。河朔演其曲而被之管絃，因寫其妻之容。妻悲訴，每搖其身，故號踏搖云。近代優人頗改其制度，非舊旨也。 |
| | Ta Yaoniang originated in the late Sui dynasty. There was a man from Hedong with an ugly appearance who loved drinking alcohol and often called himself Langzhong. When he returned home drunk, he would always beat his wife. His wife was beautiful and good at singing, so she sang songs expressing sorrowful grievances. The people of Heshuo adapted the melody into music with wind and string instruments, thus depicting the wife's appearance. As the wife lamented her suffering, she would often shake her body; hence it was called Ta Yaoniang. In recent times, actors have significantly altered its format and style, which no longer reflects the original intent.
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窟鳇子，亦曰魁鳇子，作偶人以戲，善歌舞。本喪樂也，漢末始用之於嘉會。北齊後主高緯尤所好。高麗之國亦有之。今閭市盛行焉。 |
| | Kuhuangzi, also called Kuaihuangzi, was a performance using puppets for entertainment and was good at singing and dancing. Originally it was funeral music; by the end of the Han dynasty, it began to be used in joyous gatherings. Emperor Gao Wei of Northern Qi especially favored it. The country of Gaoli also had this performance. It is now widely popular in the common markets and streets.
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若尋常享會，先一日具坐立部樂名，上太常，太常封上，請所奏御注而下。及會，先奏坐部伎，次奏立部伎，次奏蹀馬，次奏散樂。 |
| | If it was a regular banquet, one day in advance the names of the seated and standing music ensembles were prepared and submitted to Taichang. Taichang would then seal and submit them upward, requesting imperial annotations before proceeding downward. On the day of the banquet, first the Zuibu ji (seated ensemble) was performed, followed by the Libu ji (standing ensemble), then Die Ma (horse dancing), and finally Sancelve.
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| | 前代雜樂: |
鼓吹者，蓋短簫鐃歌。蔡邕曰：「軍樂也，黃帝岐伯所作，以揚德建武，勸士諷敵也。」周官曰：「師有功則凱樂。」左傳晉文公勝楚，振旅，凱而入。司馬法曰：「得意則凱歌。」雍門周說孟嘗君「鼓吹於不測之泉」。說者云，鼓自一物，吹自竽、籟之屬，非簫鼓合奏，別為一樂之名也。然則短簫鐃歌，此時未名鼓吹矣。應劭漢鹵簿圖，唯有騎執菰。菰即笳，不云鼓吹。而漢代有黃門鼓吹。漢享宴食舉樂十三曲，與魏代鼓吹長簫同。長簫短簫，伎錄並云絲竹合作，執節者歌。又建初錄云，務成、黃爵、玄雲、遠期皆騎吹曲，非鼓吹曲。此則列於殿庭者為鼓吹，今之從行鼓吹為騎吹，二曲異也。又孫權觀魏武軍，作鼓吹而還，應是此鼓吹。魏晉代給鼓吹甚輕，牙門督將五校，悉有鼓吹。晉江左初，臨川太守謝摛每寢，夢聞鼓吹。有人為占之曰：「君不得生鼓吹，當得死鼓吹。」摛擊杜弢戰歿，追贈長水校尉，葬給鼓吹焉。謝尚為江夏太守，詣安西將軍庾翼於武昌諮事，翼以鼓吹賞尚射，破便以其副鼓吹給之。齊、梁至陳則甚重矣，各製曲辭以頌功德焉。至隋，亡。 |
| | Gu chui zhe, gai duan xiao nao ge. The guchui is a kind of short flute and drum music. Cai Yong said: "It is military music, composed by Huangdi and Qibo to promote virtue and martial prowess, encouraging soldiers and admonishing the enemy." The Zhou guan says: "When a general achieves success, then kai music is played." Zuo Zhuan records that after the Jin Wen Gong defeated Chu, he reviewed his troops and entered in triumph. The Sifa says: "When victory is achieved, then a triumphant song is sung." Yongmen Zhou said to Mengchang Jun: "Play guchui music at an unpredictable spring." Commentators say that "gu" refers to one instrument, and "chui" refers to instruments such as the yu or lai; it is not a joint performance of flutes and drums, but rather a separate name for a type of music. If so, then the short flute and drum song was not yet called "guchui" at that time. Ying Shao's Han Lu Bu Tu (Imperial Procession Diagram of the Han) records only riders holding gu. Gu is the same as jia; it does not mention guchui. Yet during the Han dynasty, there was Huangmen Guchui (Imperial Attendant Drum and Flute Music). The thirteen musical pieces performed at banquets during the Han dynasty were the same as the Guchui Changxiao (Long Flute Drum and Flute Music) of the Wei dynasty. The long flute and short flute, according to musical records, were both performed together with stringed and bamboo instruments; those holding the jie (a kind of clapper) sang. The Jianchu Lu also states that Wu Cheng, Huang Jue, Xuan Yun, and Yuan Qi were all mounted flute pieces, not guchui compositions. Thus, those performed in the palace court are called guchui, while today's traveling guchui performed on horseback is termed qichui; these are two different types of music. Also, when Sun Quan observed Wei Wu's army, he performed guchui and returned; this should refer to the aforementioned guchui. During the Wei and Jin dynasties, the granting of guchui was very lenient; generals in charge of gate guards, supervisors, and the five schools all had access to guchui. At the beginning of the Jin dynasty in Jiangzuo (the southern refuge), Xie Chi, the Taishou (governor) of Linchuan, often dreamed of hearing guchui while sleeping. Someone interpreted it for him, saying: "You will not receive the living guchui, but you shall receive the funeral guchui." Chi died in battle against Du Tao; he was posthumously awarded the title of Changshui Jiao Wei, and guchui was provided for his funeral. Xie Shang was the Taishou of Jiangxia. When he went to Wuchang to consult with Anxi General Yu Yi, Yi rewarded Shang with guchui for his archery performance and immediately gave him a secondary set of guchui as an official grant. In the Qi, Liang, and Chen dynasties it became highly esteemed; each dynasty composed musical pieces to extol virtue and merit. By the Sui dynasty, it had disappeared.
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| | 前代雜樂: |
西涼樂者，起符氏之末，呂光、沮渠蒙遜等據有涼州，變龜茲聲為之，號為秦漢伎。後魏太武既平河西，得之，謂之西涼樂。至魏、周之際，遂謂之國伎。魏代至隋咸重之。其曲項琵琶、豎頭箜篌之徒，並出自西域，非華夏舊器。楊澤新聲、神白馬之類，生於胡歌，非漢、魏遺曲，故其樂器聲調悉與書史不同。其歌曲有永世樂，解曲有萬代豐，舞曲有于闐佛曲。工人平巾幘，緋褶。白舞一人，方舞四人。白舞今闕。方舞四人，假髻，玉支毕，紫絲布褶，白大口蔥，五綵接袖，烏皮靴。其樂器用：鐘一架，磬一架，彈箏一，搊箏一，臥箜篌一，豎箜篌一，琵琶一，五絃琵琶一，笙一，簫一，大篳篥一，小篳篥一，長笛一，橫笛一，腰鼓一，齊鼓一，擔鼓一，貝一，銅鈸二。 |
| | The Xiliang Yue (Western Liang music) originated toward the end of Fu Shi's rule. Lu Guang, Juqu Mengxun and others occupied Liangzhou, transforming the Kucha musical style into it, naming it Qinhan Ji (Qin-Han Troupe). After the Northern Wei Ta Wu pacified Hexi, he acquired this music and named it Xiliang Yue. By the time of the Wei and Zhou dynasties, it was regarded as guoji (national music). The Wei dynasty through to the Sui all held it in high esteem. Instruments such as the curved-neck pipa and upright konghou also originated from the Western Regions, not being traditional Chinese instruments. Pieces such as Yang Ze Xinsheng and Shen Ba Ma originated from Hu (barbarian) songs, not being inherited Han or Wei dynasty melodies; therefore, their musical instruments and tonal styles are entirely different from those recorded in historical texts. Among its songs is Yongshi Yue, among the interludes is Wandai Feng, and among the dance pieces is Yutian Fo Qu. The performers wore flat-capped jinzheng headgear and crimson pleated skirts. One person performed the Baiwu, while four people performed the Fangwu. The Baiwu is now missing. The Fangwu was performed by four people, who wore false hairpins, jade ornaments, purple silk pleated skirts, white large-leaf chong (a type of garment), five-colored sleeve extensions, and black leather boots. The musical instruments used were: one set of bells, one set of stone chimes, one danzheng (zither), one chouzheng, one wukonghou (horizontal konghou), one shukonghou (vertical konghou), one pipa, one five-stringed pipa, one sheng (mouth organ), one xiao (flute), one large bili (double-reed pipe), one small bili, one changdi (long bamboo flute), one hengdi (transverse flute), one yaogu (waist drum), one qigu (square drum), one danggu (shoulder drum), one bei (conch shell), and two tongba (cymbals).
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| | 前代雜樂: |
禮畢者，本自晉太尉庾亮家。亮卒，其伎追思亮，因假為其面，執翳以舞，象其容，取其諡以號之，謂文康樂。每奏九部樂，終則陳之，故以禮畢為名。其曲有散華樂等。隋平陳，得之，入九部樂。樂器有笙、笛、簫、篪、鈴槃、鞞、腰鼓等七種，三懸為一部。工人二十二人。今亡。 |
| | Libi, originally from the family of Jin dynasty Ta 尉 Yu Liang. After Yu Liang's death, the performers mourned for him and thus wore masks resembling his face, holding fans to dance, imitating his appearance. They took his posthumous title as its name, calling it Wenkang Yue (Music of Wenkang). Whenever the nine-part musical performance was played, this piece would be performed at its conclusion; hence it was named Libi (Ceremonial Conclusion). Its pieces include Sanhua Yue and others. When the Sui dynasty conquered Chen, they acquired it and incorporated it into the Nine-Part Music system. The musical instruments included seven types: sheng, di, xiao, chi, lingpan, bi, and yaogu; three sets of suspended instruments formed one section. There were twenty-two performers. It is now lost.
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