Through the study of the rheological changes of the copper drum image in Chinese poetry, it is found that the copper drum image is full of vitality and plasticity. The rheological history of this bronze drum image is actually a refraction of China's political history and ideological and cultural history for more than 1,000 years, and poetry and history corroborate each other, from which we can get a glimpse of China's journey from "under heaven" to a modern country.
The bronze drums in the poems of the Tang Dynasty are vivid and diverse, and they are the "southern" scenery in a corner of the world. The bronze drums in the poems of the Song and Ming dynasties are placed in the historical world and the Huayi order, which are symbols of national borders, and often appear as symbols with political overtones. The bronze drum in Qing Dynasty poetry became a symbol of the image of the "pluralistic unity" of the country, completely integrated with the logic of the ruling at the time, but eventually collapsed due to the collapse of the rule.
The bronze drum is a ritual instrument and musical instrument of the southern ethnic groups and some ethnic groups in Southeast Asia in ancient China, a symbol of power and wealth, and an important display on the "Kua Fu Banquet", which is quite different from the ceremonial instruments of the Central Plains. The bronze drum appeared in Yunnan in the seventh century B.C. from central Yunnan to western Yunnan, with a history of more than 2,600 years, and can still be seen in the ceremonial activities held by the Zhuang, Buyi, Shui, Yao, Yi, Wa and other ethnic groups today. Most of the ancient southern ethnic groups did not have their own written language, and the inheritance of copper drum knowledge mainly relied on oral transmission, and few texts remained. Therefore, the records of copper drums in Chinese historical materials and poems are particularly important. The Book of the Later Han Dynasty and the Biography of Ma Yuan is the earliest official historical material that mentions the copper drum, and the subsequent historical books such as the Book of Jin, the Book of Chen, and the Chronicle of Guangzhou also have different records of the bronze drum.
By the Tang Dynasty, copper drums began to appear in the poetry of literati. Unlike historical books, poems generally lack detailed records of events, but are often a true and lyrical reflection of the poet's heart. The subtle transformation of various concepts in different periods has created a constantly changing image of the copper drum. The Tang Dynasty, as a dynasty of "great unification", had a vast territory and unprecedented national strength, and the area south of the Yangtze River was developed at a deeper level. In the Tang people's "view of the world", the Central Plains Dynasty was in the center of course.
Southern Brass Drum: A Mysterious Movement Written by a Poet.
Li Daliang, the founder of the country, once said: "The Chinese people are the root of the world."The people of the four Yi are like branches and leaves. "The Central Plains and the Four Yi have the same root and leaf, and the Tang people are confident that they can accept cultures that are different from those of the Central Plains. There are about ten poems about the word "copper drum" in the whole Tang Dynasty poems, and all of them describe living copper drums, not antiquities. In the eyes of the Tang people, the existence of the copper drum is multifaceted. The bronze drum was most often regarded as a sacrificial object by poets, and people beat it to pray for the gods. Bai Juyi's "Twenty Rhymes of Sending Guests to Lingnan in Spring" cloud: "The tooth is welcoming the sea, and the bronze drum is the god of the river." Bai Juyi said goodbye to his friends who went to the south, and regarded the bronze drum festival as a typical Lingnan image. Wen Tingyun's "River Blasphemy" cloud: "The bronze drum race god comes, and the court is full of flags. "River blasphemy" is the name of the word brand, but Wen Tingyun realistically described the grand occasion of sacrificing the river blasphemy water god, in the water village of Jiangpu in Chudi, the sound of copper drums, and the flag covered the sky.
Sun Guangxian's "Bodhisattva Barbarian Words" cloud: "Bronze drums and barbarian songs, southerners pray for more sai. "The bronze drum was also directly associated with the sacrificial activities, and the south was regarded by the Tang people as a distant place to indulge in popular beliefs. These three poems, "Twenty Rhymes of Sending Guests to Lingnan in Spring" are mainly to exhort friends who travel far away, "River Blasphemy Words" and "Bodhisattva Barbarian Words" are to express the sorrow of lovers missing distant tourists, the south has become a distant background, Xi customs and customs are very different from the Central Plains, and the bronze drum race god especially has the significance of the northern and southern customs. Sometimes, the bronze drum penned by the poet will also return to the more familiar daily life from the imaginary south. Xu Hun's "You Wei (Yizuoqiao) Mountain Xinxing Temple Su Shiping Village Xie Su's Family" cloud: "Every family buckles the copper drum, and wants to be General Sailu." The poet passed through the "Wei (Qiao) Mountain", later generations believe that it should be in Wu Land, or Zhenjiang's Qian Mountain, that is, today's Jiao Mountain. It was a snowy night in the depths of winter, and the poet stayed in the village's house and found that every household was beating copper drums and preparing to worship Lu Su, that is, "General Lu".
The copper drum is not only used in Guangdong and Chu, but also quite common in the south of the Yangtze River, but it is not used to worship the water god, but to worship the loyal heroes. In addition to the above examples, some poets also try to incorporate the imagination of the copper drum into the context of classic culture, such as Li Jiav's "Night Hearing the Race God of the Jiangnan People's Race God Because of the Topic", the beginning of the poem calls the southern sacrifice "obscenity", and the copper drum is also regarded as a tool for obscenity, but the poet associates and compares himself to the experience of Qu Yuan, and integrates the song of the copper drum to welcome the gods into the understanding of Chu Ci. The brass drum is also often used as a musical instrument in the pen of poets. In the eighteenth year of Zhenyuan (801), the king of the country of Pi (in present-day Burma) sent an envoy to Sili to the Tang Dynasty to congratulate him, offering national music and music work, which was highly valued, and many poets left poems, with Bai Juyi's "Bi National Music" being the most famous.
Southern Brass Drums: The Inheritance of Movement and the Tracing of Art.
"Bi Guole" is one of the 50 songs of "Xin Yuefu", describing the grand occasion of Piu Guo's music and dance, and satirizing the monarch not to be vain. In the poem, the sentence "the jade snail blows the vertebral bun, and the copper drum hits the tattoo body" is often quoted by later copper drum researchers, who believe that the copper drum is used in the Chinese music. However, according to Lin Qian.
3. Qin Xu and other scholars have researched that whether it is the bronze drum for music, or the dancers' costumes with vertebrae and tattoos, they are inconsistent with the records of the "New Tang Dynasty Book Nanban Biography";And the "Xin Yuefu" series was written in the fourth year of Yuan He (809), in the eighteenth year of Zhen Yuan, Bai Juyi was still a pioneer who had not been awarded an official position, and he was not eligible to attend the ceremony of the music of the country of Piao, so it can be seen that the scene depicted in the music of the country was not seen by Bai Juyi himself. As a southern musical instrument, just as the vertebrae tattoo is the image of the southern people, it can be said to be a kind of "stereotype" at that time, which is a typical southern image.
Liu Yuxi's "Ma Dafu Sees the Poems Presented by the King of Western Zhejiang" describes the southern experience of the general horse protector of Annan, and there is a sentence of "like a banquet room will meet the words, and the copper drum Linxuan dances Haiyi", which reflects the southern ethnic group performing copper drum songs and dances at the banquet. Chen Yu's record of the copper drum** comes from personal experience. Its "Qianwei City Night Park Hearing Yi Song" cloud: "This night pity Jiang Shangyue, Yi Song copper drum is not worried. Qianwei was set up as a county when Emperor Wu of the Han Dynasty in the old days, governed Yelang, is the settlement of the southern ethnic groups, the poet berthed on the bank of the Min River at night, listened to the copper drum accompanied by the singing, evoked the homesickness. The brass drum serves as a musical instrument that reminds the reader of the poem that its sound comes from the far south.
Conclusion: The bronze drum of the southern country, the movement that has been preserved through the ages.
The evolution of the copper drum in Chinese poetry is not only a portrayal of southern scenery, but also a mirror of China's political history. From the pluralism and richness of the Tang Dynasty to the symbolic national unity of the Ming and Qing dynasties, to the Qing Dynasty when the rule collapsed, the copper drum has always played different melodies in the long river of history. As a cultural symbol of the southern people, the bronze drum carries a long history and rich cultural connotation.
Through the concrete and rich image of the bronze drum, the poets express their yearning for the South, their love for mystical culture, and their reflection on the political process. The southern bronze drum, like an eternal movement, allows us to travel through time, listen to the ancient melody, and feel the charm of the southern style.
This article takes the bronze drum as the main line, deeply analyzes the evolution of Chinese poetry, and shows the multiple aspects of Chinese political history and ideological and cultural history through the changes of the copper drum. Through rich poetic examples, the author outlines the different meanings and symbols of the bronze drum in the Tang, Song, Ming and Qing dynasties, so that readers can get a glimpse of China's development process from "under heaven" to the country.
First of all, through the description of the bronze drum of the Tang Dynasty, the article shows its vivid and diverse image, which has become a representative of the "southern" scenery. With the evolution of the times, the meaning of the bronze drum has gradually deepened, from being placed in the historical world and the Huayi order, to becoming a symbol of national borders, and then to becoming a symbol of the national image of "pluralism and unity" in the Qing Dynasty. This process not only reflects the multi-level changes of the copper drum itself, but also the evolution of China's political situation and cultural atmosphere, which is a subtle microcosm of Chinese history.
Secondly, the author shows the important position of the copper drum in the southern region through vivid descriptions. The copper drum is not only a ritual instrument and a musical instrument, but also a symbol of the culture of the southern ethnic groups and some ethnic groups in Southeast Asia. The different descriptions of the copper drums by the poets mentioned in the article include scenes of sacrifice and music and dance, which not only show the diverse uses of the copper drum in religion and culture, but also reflect the richness and diversity of the southern region.
In addition, the article also emphasizes the close connection between the change of the image of the bronze drum in the poet's pen and the background of the times. In the Tang Dynasty, the bronze drum was mostly used for sacrifices, and in the Song Dynasty to the Ming Dynasty, it became a symbol of national borders and had strong political overtones. During the Qing Dynasty, the bronze drum was integrated into the national image of "unity in diversity", but eventually collapsed due to the collapse of the rule. This change not only reflects the evolution of the concept of the times, but also echoes the change of political power.
Finally, through the analysis of specific examples such as "Bi Guole", the article shows the application of copper drums in the field. The inheritance and integration of this culture has made the copper drum one of the representatives of southern culture, and has also deepened the integration of southern and Central Plains cultures.
In general, through an in-depth analysis of the image of the copper drum, this article integrates it into the background of Chinese history, and shows the rich connotation of the copper drum in literature, history, culture and other levels through the changes of the times. The level of the article is clear, the language is fluent, and through specific poetry quotations, it vividly shows the thousand-year-old changes of the copper drum, so that readers have a deeper understanding of ancient Chinese culture.
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