Echoes of the Court : Palace Music in Historical Documents

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  Sheng and Bell Instruments Illustration；Nine Movements of the Xiao Music

  In Qinding Shujing Tushuo (Imperial Illustrated Book of Documents), Vol. 5
  Lithographic edition by the Zongli Yamen 
  1905, Qing dynasty
  故殿013404

  During the era of Emperor Shun, the “Da Shao Zhi Yue” (Great Shao Music) was performed during ancestor worship and to entertain guests, embodying virtues capable of resonating with the spirit. “Shaoyue” was played using musical instruments such as the mingqiu (jade qing), qin, se, sheng, guan, taogu, yong, zhu, and yu. Kui said, “When the sounding-stone is tapped or struck with force, and the lutes are strongly swept or gently touched, to accompany the singing, the progenitors come to the service, the guest of Yu is in his place, and all the princes show their virtue in giving place to one another. In the court below the hall, there are the flutes and hand-drums, which join in at the sound of the rattle, and cease at that of the stopper, when the organ and bells take their place. This makes birds and beasts fall while moving. When the nine parts of the service, as arranged by the Di, have all been performed, the male and female phoenixes come with their measured gambolings into the court.” 

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  Bianzhong (Ritual Bronze Bells for Court Ceremonies)

  In Huangchao Liqi Tushi (Illustrated Compendium of Imperial Ritual Vessels), Vol. 8
  Compiled on imperial order by Yunlu et al. 
  Wuying Palace edition
  1766, Qing dynasty
  故殿024315

  The Illustrated Compendium of Imperial Ritual Vessels, first compiled in 1759 and later revised in 1766, is a specialized, Qing-dynasty ritual vessel book notable for its meticulous and refined illustrations that faithfully reproduce the original forms of each object. Vols. 8 and 9 of the book are dedicated specifically to musical instruments. These two volumes contain 82 detailed illustrations of musical instruments, along with precise descriptions of their dimensions, materials, and decorative patterns. The illustrations are organized according to the musical settings of the Qing court, such as court ceremonies, imperial processions, inspection tours, sacrificial ceremonies, state plowing ceremonies, banquets, and triumphant returns. The collection encompasses both traditional Han Chinese musical instruments and those of ethnic minority groups.

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  Bianqing chime stones (Set of 10, 1 Displayed)

  Warring States period (475–221 BCE)
  購玉000014

  The jade qing is an essential instrument in Zhonghe Shaoyue performances. A full set of bianqing consists of 16 jade qing suspended from a frame, arranged according to their size and thickness so that they can be struck in sequence to produce a range of pitches. The pitch of each qing depends on its shape: larger and thinner qing produces lower pitches, whereas smaller and thicker qing yields higher pitches.

  The jade qing is typically deep bluish-gray in color. Its form resembles a truncated qing, with both ends cut off—though not symmetrically, as the lengths removed from each end differ. When a string is threaded through a hole in the body and the qing is suspended, its asymmetry becomes even more apparent, giving the instrument a distinctive visual appearance and aesthetic appeal.

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  Ceremonial Instrument Arrangement Diagram

  In Qinding Daqing Huidian Tu (Imperially Endorsed Illustrated Statutes of the Great Qing), Vol. 18
  Compiled on imperial order by Tojin et al.
  Wuying Palace printed edition, 1813, Qing dynasty
  故殿012970

  Sacrificial ceremonies were among the most important ceremonial activities of the Qing court, encompassing offerings to the heaven, deities, and ancestors. These ceremonies were classified into grand sacrifices (e.g., offerings at the Circular Altar, Square Altar, Imperial Ancestral Temple, Altar of Soil and Grain, and Confucian Temple), mid-level sacrifices (e.g., sacrifices to the rising sun, setting moon, and god of agriculture), and group sacrifices (e.g., sacrifices to the god of fire, city gods, and god of medicine). The Ministry of Rites oversaw nearly 80 types of such ceremonies, while the Imperial Household Department managed over a dozen imperial sacrificial ceremonies. Emperors personally participated in major sacrificial ceremonies. Both grand and mid-level sacrifices featured Zhonghe Shaoyue performances. The performance setup is illustrated the “Ceremonial Instrument Arrangement Diagram” of the Imperially Endorsed Illustrated Statues of the Great Qing (Vol. 20), which depictis the arrangement of musical instruments and accompanying court dances. Although the types of musical instruments used were the same for both sacrifices, mid-level sacrifices featured fewer instruments and dancers.

  In these ceremonies, the musical instrument arrangement for Zhonghe Shaoyue performances was as follows: on the left side were 1 bozhong, 1 bianzhong, and 1 jiangu; and on the right were 1 teqing and 1 bianqing. Inside, there were 1 xun, 3 chi, 1 paixiao, 5 di, 5 xiao, 2 se, 5 qin, 5 sheng, and 5 hu on both the left and right sides; the hu performers were officials and vocal performers of ritual hymns. In the front row, 1 zhu, 1 bofu, and 1 hui were positioned on the left side; and 1 yu and 1 bofu were positioned on the right side. In the center stood the dancers: 32 civil and 32 martial dancers on each side, led by 4 jie performers, who stood in front to guide the dances.

The Silkworm Ceremony was a ritual in which the empress personally gathered mulberry leaves and engaged in sericulture tasks. This tradition began in the Zhou dynasty and was continued throughout successive dynasties. To demonstrate the imperial court’s reverence for agriculture and sericulture, the emperor performed the Plowing Ceremony in spring, while the empress conducted the Silkworm Ceremony. In 1744, the Altar to the Goddess of Silkworms was established in Beijing’s Western Garden, where Empress Xiaoxianchun (1712–1748) presided over the ceremony. Wearing ceremonial attire, the empress, accompanied by imperial consorts and womenfolk also in ceremonial attire, conducted the ceremony at the Altar to the Goddess of Silkworms. On the following day, the Mulberry Leaf Gathering Ceremony took place in the mulberry grove near the altar. After personally demonstrating how to harvest leaves, the empress ascended the Observation Platform to watch the consorts and womenfolk perform the gathering. The illustration of the scene in Imperial Rites of Sericulture: Mulberry Picking shows ceremonial music being played as court eunuchs stand on either side of the altar bearing colorful banners. Musical instruments such as jin, xiao, di, sheng, and paiban are played, and songs known as Mulberry Harvest Songs are chanted.

The music performed during the empress’s Silkworm Ceremony is known as “hecisanggeyue.” The musical instruments used included 2 jin, 2 drums, 6 xiao, 6 di, 6 sheng, and 2 paiban. These were arranged on both the eastern and western sides of the mulberry grove near the altar. Additionally, ritual music officials holding hu chanted the Mulberry Harvest Songs.

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  Birthday Celebration Song and Dance (Manchu-Chinese bilingual text)

  Guangxu period (1875–1908), Qing dynasty
  故宮150711

  In the Qing dynasty, imperial court ceremonies (or court celebrations) primarily referred to the three grand annual celebrations: New Year’s Day, dongzhi, and the Wanshou Festival (i.e., the emperor’s birthday). Key events included the emperor’s enthronement, the promulgation of imperial edicts, emperor’s weddings, and regular court meetings held on the 5th, 15th, and 25th of each month at the Hall of Supreme Harmony. The music performed at these events was ceremonial in nature. Zhonghe Shaoyue was played when the emperor took or left his seat, while Danbi Dayue was played during officials’ formal salutes.

  The birthdays of empresses and empress dowagers were referred to as Qianqiu Festivals. During these birthday celebrations, both Zhonghe Shaoyue and Danbi Dayue were performed. “Songs for the Empress Dowager’s Birthday,” a musical piece, created during Emperor Guangxu’s reign that consists of twenty verses, was likely sung by ritual music officials during birthday ceremonies.

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  Victory Banquet for Military Officers at Ziguang Pavilion

  Included in Pingding Jinchuan Tu (Illustrations of the Pacification of Jinchuan)
  Qing dynasty
  平圖021207

  In ancient China, it was customary for emperors to host victory banquets after triumphant military campaigns to honor the generals and ministers who took part. Princes, dukes, and ministers would accompany the emperors at these feasts. One such event is depicted in a copperplate engraving of the 1776 banquet held at the Ziguang Pavilion following the pacification of Greater and Lesser Jinchuan. Located in the Western Garden of the Forbidden City, the Ziguang Pavilion was originally used during the Ming dynasty for military examinations and archery reviews. By the Qianlong reign, it became the designated venue for banquets honoring foreign dignitaries and victorious generals.

  This image shows the princes, dukes, ministers, and returning generals lined up in formation on either side of the palace steps. Emperor Qianlong arrives in his imperial carriage, greeted by kneeling ministers. Musical instruments such as bianzhong, bianqing, qin, se, drums, di, sheng, paixiao, zhu, and yu are arranged within the hall. Zhonghe Shaoyue is performed first as ceremonial music, followed by entertainment music and dances.

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  Musical Scores for the Pacification of Jinchuan in Manchu and Chinese

  In Qinglong Wuyüe Ceye (Qinglong Dance Music Album), Vol. 8
  Qing dynasty
  故書000272

  The National Palace Museum holds a musical piece (written in gold ink and in both Manchu and Chinese by the Qing dynasty Imperial Household Department). According to Guo Chao Gong Shi (History of the Reigning Dynasty Palace) (Vol. 7, Rites 3), this text corresponds to the “Desheng Dance” performed at the banquet in the Fengze Garden to celebrate the pacification of Jinchuan in 1749. The lyrics proclaim: “In the glorious age of Qianlong, peace prevails across the seas. The sovereign is wise, and his ministers loyal. The empire thrives with prosperity and virtue. His rule extends to the farthest reaches, spreading benevolence afar. The petty rebels of Jinchuan, ignorant and insolent, disobeyed the times and stirred unrest at the borders. Heaven’s punishment was thus enacted, their crimes proclaimed. With imperial forces dispatched, clouds of troops amassed. Through divine strategy and far-reaching plans...” It is inferred that this musical work was sung at the victory banquet at the Ziguang Pavilion.