Beijing Zhihua Temple
Zhihua Temple (Zhihuasi) is one of the most well-preserved Ming (1368-1644 C.E.) dynasty-era Buddhist temple in Beijing, China. The Beijing Zhihua Temple collection focuses on the architecture of the temple, including Zhihua Hall (Zhihuadian) and Wanfo Pavilion (Wanfoge), as well as the sculptures and the capital music.
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Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), music performance
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , é³ä¹č”Øę¼
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Ceiling Panels, from Zhihua Temple
- Title Translation: 天č±ęæļ¼ę„čŖäøå½åäŗ¬ęŗååÆŗ
- Period: Qing, 1736-1796 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Carved cypress wood with gold leaf; dragon design carved in relief
1736
1796
1796
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), sound of capital music
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , äŗ¬é³ä¹ä¹å£°
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
- Title Translation: ęŗååÆŗäŗ¬é³ä¹ , ä¹ę
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhenās unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wangās death in 1449, the temple lost its prestigious status, and during Emperor Jingdiās reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Templeās music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the āthree gateways.ā The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444