..續本文上一頁 Buddhist music. The music institute and religious art institute of China Art Research Institute had organized the “Buddhist music essence performance” separately in Beijing in 1990 and 2003. Besides, some small performances has been held in Europe, US, Taiwan, Hong Kong and many other places every now and then. The third thing is to hold academic exchanges. Taiwan once held “Buddhist Music Conference” at early time. And the Buddhist music research center of China Central Conservatory of University cooperated with South Korea northeast Asian music research institute and held “Chinese and South Korean Buddhist Music Conference” for 4 times. This conference had renamed as “East Asia Buddhist Music Exchange and Academic Forum” and was held in Taiwan in 2007. Most of these academic conferences above had published memoirs. One thing more important than above things is the “Beijing Music of Zhihua Temple” and the “Buddhist Music of Mount Wutai”, which are considered as the heritage of Chinese traditional music, have been listed in the “the First Batch of State-level Non-material Cultural Heritage List”.
What we done has made some efforts for the understandings and socialization of Buddhist music. But it seems that all these efforts haven”t played the key role for Buddhist music itself. Buddhist music has not developed by our care. Therefore, the major task in current for Chinese Buddhist music is to rescue them.
First, we must fully learn and understand Chinese Buddhist music. When compiled the “Top 10 literature, art and record collections”, because of the historical limitations, Buddhist music had not been enough valued, it was only collected in some key areas with purpose, and even the collecting result had been compiled into Chinese folk instrumental works collection. So now a complete research for Buddhist music is strongly recommended. Maybe we can find some “living” heritages of Buddhist music existing among Chinese traditional music through this research.
Second, we need to do deep research and summary the schools and styles of Buddhist music and their historical reasons of formation and development tracks. And we need to be able to describe the Chinese Buddhist music history, so as to get a rational understanding for Buddhist music, and supply a gap for the history of Chinese music.
Third, and the most important thing is that our investigation and research results should recombine with the Buddhism and produce more Buddhist music, make the Buddhist ceremonies more various and artistic. Thus, Buddhist music can really live on in its original way, and the Buddhist ceremonies can finally become artworks, for achieving the purpose of publicizing the Buddhism.
To spread and develop Buddhism is important. But if without clear understanding for the traditions and disciplines, the development will be leaves without figs. Buddhist music needs to be developed, but rescue is more important and urgent in current situation.
[1] Biography of Great Monks, Shi Hui (Liang Dynasty), Zhong Hua Press, 1st version of 1992: Vol 13.
[2] Ya Xin, Music of Temple, 1995, compiled by Chengdu Branch of Chinese Musicians Association
[3] Han Jun, Music of Buddhism in Mount Wutai, published by Shanxi People Press
[1]見〔梁〕釋慧皎《高僧傳》卷十叁，中華書局出版，1992年第1版。
[2]亞欣，1955：《寺廟音樂》，中國音樂家協會成都分會編。
[3]韓軍，1993年：《五臺山佛教音樂》，山西人民出版社出版。
作者簡介：
韓軍，山西省音樂舞蹈曲藝研究所副所長。
《中國佛教音樂亟待搶救和保護——以五臺山佛教音樂爲例》全文閱讀結束。