Culture and Spirit during the Apex of the Tang Dynasty (Part 2)
 
III. Music and Dance
 
Tang era music and dance used the best movements of previous generations, and adopted the best from the many minorities as well as foreign nationalities in the west. The music and dance are a true reflection of a peaceful and prosperous society with hundreds of nations and a variety of nationalities in perfect harmony.
 
Tang music and dance are grand and magnificent. Poetry and prose are compiled into songs and odes; the instruments were very diverse including the gong, zither, Chinese harp, and drums; the dances were graceful and smooth; the songs were resounding and melodious; the costumes were colorful and diverse. Among the Tang music and dance there was "Qingshang Music," which included and refined traditional music starting from as far back as the Han Dynasty; there was also "Northwest Land Music" and "Goryeo Music," which were named after the nations, places or people they originated. The original pieces compiled during the Tang Dynasty were a combination of music, dance, and poetry, often in the form of large-scale, multi-section presentations.
 
During Emperor Taizong’s reign, he established ten types of music, of which two were native Chinese, four belonged to minorities within the borders of Tang, and four from other nations, as far south as India and as far north as Samarkand, Uzbekistan. Music from the western regions also became mainstream with many musicians from western regions living in Chang’an at the time.
 
One of the most famous productions created during the Tang Dynasty was "Li Shimin Defeating Liu Wuzhou," a grand and majestic showcase of music and dance that described and praised Emperor Taizong's virtuous feat of eliminating a vicious enemy, unifying the nation, and bringing peace to the people. The music became very popular, and was even widely spread in countries outside of China.
 
IV. Ideology and Beliefs
 
The Tang Dynasty was a period when Confucianism, Buddhism, and Taoism continued to develop to their peak in popularity. The teachings of these three schools helped to regulate people's ideology and conduct, and permeated all aspects of society. As a result, the entire society was able to maintain a high moral standard. The Tang Dynasty thus reached a glorious level.
 
Emperor Taizong not only respected Confucianism, but also supported Taoism and Buddhism. During the Tang Dynasty, there was a complete system of worshipping heaven and earth, as well as worshiping deities. People respected heaven and believed in gods. Scholars respected Taoism and promoted virtuous conduct, taking the well-being of the people and prosperity of society as their responsibility. Confucianism teaches peoples: "A Benevolent Person Loves Others;" the Taoist school teaches "Enlighten to Tao and Validate the Truth;" the Buddhist school teaches "Offering salvation with Compassion." These orthodox beliefs helped people understand the doctrines of life, so as to maintain their pure and benevolent nature. People of that time strived to seek truth and firmly maintain a virtuous heart.
 
Emperor Taizong issued an order to have scholars compile the book "Five Classics of Confucianism," which became the standard textbook for students to study in preparation for the imperial examination. It remained a standard textbook for later generations as well. Confucianism then became the basic principles to discipline people's minds and conduct.
 
Taoist teaching was also widely promoted during the Tang Dynasty. Many scholars, such as He Zhizhang and Li Bai, sought the Tao. In fine arts, there was a special study dedicated to Taoist and Buddhist figures. Fine arts were viewed by the people as an art form that is assisted by the gods. Musicians compiled grand Taoist music pieces. Calligraphers pursued a beauty harmonious with nature. The renowned Chinese Medicine doctor Sun Simiao was a Taoist cultivator whose lifetime endeavor was the cultivation of Tao and providing medical treatment for people. He saved the lives of countless people. Later generations worshipped him as "Taoist Sun" and "the King of Medicine."
 
The spread of Buddhist doctrine also reached an unprecedented scale. Large numbers of Buddhist scriptures were translated and spread during this time. People believed in Buddha Dharma, and believed in karmic relationships. They cultivated the heart and strived to be compassionate. Society was in great peace and people's minds were pure and kind. The situation during these times was just as described in Buddhist scriptures: “Where Buddha Dharma is taught, nations, cities and villages all benefit. The heavens, earth and people are in harmony, rain and wind are stable and disasters are absent. The people are prosperous. Armies and weapons serve no purpose. Virtue, benevolence and etiquette are important in everyone’s minds. The nation has no theft and no injustice. The strong do not bully the weak and everyone is satisfied within their means.”
 
Accomplished monk Xuanzang (602 – 664 AD), with his compassionate heart for all, was determined to go to India to obtain Buddhist scriptures. He spent 17 years making a long and arduous journey to India and back, and returned with 657 scriptures. Upon his return, he translated all of the scriptures into Chinese at Ci'en Temple in Chang'an. Emperor Taizong greatly acclaimed the monk's feat and gave him tremendous support in translation and circulation. Moreover, the emperor personally wrote the foreword for Xuanzang's translation collections. It began with an exposition on heaven and earth, yin and yang, transformation of the four seasons, the visible and the intangible, macroscopic and microscopic, then transitioned to the power of Buddhist teachings, and praised the incredible feat of Xuanzang seeking the Buddhist scriptures. The foreword was majestic in its momentum, yet elegant in its literary style.
 
盛唐文化与盛唐精神 (中)
 
三、乐舞艺术
 
唐乐舞荟萃历代歌舞所长，兼收西域众多少数民族及国外之精粹，日臻极境，充份体现了盛唐时百国朝贺、民族交融的景象，是国泰民安的完美写照。唐乐舞气势磅礡，场面壮观，集诗、词、歌、赋于吹奏弹唱；融钟、鼓、琴、瑟于轻歌曼舞；乐曲高亢悠扬，动作舒展流畅，服饰华丽多紫，堪称历代歌舞之最，成为吸收异域优秀文化和传播中华文明的载体。唐乐舞中 ：继承前代的传统乐舞并加以发展的，如《九部乐》、《十部乐》中的《清商乐》；以国名、地名、族名为乐部或舞名的，如《十部乐》中的《西凉乐》、《高丽乐》、《龟兹乐》等；唐代新创的乐舞，是音乐、舞蹈 、诗歌三者结合的大型多段体乐舞套曲，如吸收传统武舞的《破阵乐》、《大定乐》等。据《新唐书﹒礼乐志》记载，唐太宗时设立了十部乐，除了燕乐、清商为中原乐舞，其余四部来自唐朝境内少数民族、四部来自国外，南至印度支那，北到撒马尔罕。当时著名的歌舞大曲有《秦王破阵乐》，以唐太宗统一中国、功定天下为题材，表现了除奸佞、气吞万里的气势和拯民于水火的仁德，此曲当时在国外亦广为流传。西域音乐在唐也非常盛行，长安城内住有大批西域音乐家，著名的乐曲有《龟兹佛曲》等。有关民间乐舞盛况，在唐诗中也多有反映，出现了“《六么》《水调》家家唱，《白雪》《梅花》处处吹”的局面。
 
四、意识形态和信仰
 
唐代是儒、释、道发展和弘扬的鼎盛时期，三家思想交相辉映，规范著人们的思想和行为，渗透在社会各个领域的方方面面，使社会维持较高的道德水准，使盛唐时期达到举世瞩目的辉煌。
 
唐太宗既尊崇儒学，又扶持道教和佛教。唐代有完善的祭祀天地、神明和宗庙的祭祀制度，人们敬天信神，尊道崇德，读圣贤书，以经世济民为己任。儒家的“仁者爱人”，道家的“悟道证真”，佛家的“慈悲普度”，在这些正统信仰的影响下，人们明了做人的理念，保持质朴、善良、纯真的本性，追求真理，坚定为善。
 
唐太宗下诏组织学者修撰了《五经正义》，使儒家经典成为唐代科举考试的标准教材，并一直沿用后世，儒家思想成为规范人们思想行为的基本准则。唐代道家思想亦得以广泛弘扬，文人中求道访道的非常多：真率夷旷如贺知章，或翩翩欲仙如李白；在绘画上有“道释人物”一科，画家们的艺术也被人们称为有若神助的艺术；音乐上“玄真道曲”、“大罗天曲”大盛；书法上追求“真率天然”、“禀天而自强”的境界美，看重意象，崇尚自然；名医孙思邈一生以修道和行医济世为务，造福世人不计其数，被后世称为“孙真人”和“药王”。佛家思想传播亦规模空前，佛经翻译、传播数量巨大，人们信奉佛法，敬信神佛，深信因果而修心向善，社会安定，民风淳朴，八方来朝，正如佛经所述：“佛所行处，国邑丘聚，靡不蒙化。天下和顺，日月清明。风雨以时，灾厉不起。国丰民安，兵戈无用。崇德兴仁，务修礼让。国无盗，无有冤枉。强不凌弱，各得其所。”
 

高僧玄奘法师以慈悲为怀，立志拜佛取经以济众生，远赴西域印度十七年，取回六百五十七部佛经，并在长安慈恩寺将其全部译成中文。唐太宗赞其壮举，对其翻译、广传佛经给予大力帮助和扶植，并为译经作序《大唐三藏圣教序》。此序文气势开阔，文笔典雅，从天地阴阳、四时变化述及显像与无形，宏观与微观，再述及佛家教化之功能，赞扬玄奘法师拜佛求经之壮举，“松风水月未足比其清华，仙露明珠讵能方其朗润”、“方翼兹经流施，将日明而无穷；斯福遐敷，与乾坤而永大”。