Li Yuan: The Imperial Music and Theater Academy of Tang Dynasty

Overview

Li Yuan (梨园) was the imperial music and theater academy established during China's Tang Dynasty (618-907 CE). Originally a pear garden in the capital city of Chang'an (modern-day Xi'an), it was transformed by Emperor Xuanzong (also known as Tang Minghuang) into a comprehensive institution for training musicians, dancers, and actors. The name "Li Yuan" eventually became synonymous with the traditional Chinese performing arts community, and performers are still referred to as "Li Yuan disciples" (梨园子弟) today.

History

The origins of Li Yuan can be traced to Emperor Xuanzong's passion for music and dance. According to historical records in the New Tang Book: Rites and Music, "Emperor Xuanzong, knowing music well and being an ardent lover of Faqu (Buddhist music), selected 300 sons and daughters from the sitting musicians to teach in Li Yuan. When any sound was incorrect, the Emperor would notice and correct it, calling them 'Emperor's Li Yuan Disciples'."

Initially, Li Yuan was simply an imperial pear garden. However, under Emperor Xuanzong's patronage, it evolved into a comprehensive "academy of arts" combining music, dance, and theater. The Emperor himself served as the head of the academy (known as Cui Gong or Ya Gong), equivalent to a president or chancellor. The academy was structured with editors and military commanders (also called outstanding actors) beneath him. Emperor Xuanzong engaged in creative work and often commissioned scholars and poets to create performances. Notable poets like He Zhizhang and Li Bai wrote works specifically for Li Yuan performances.

The academy flourished during Emperor Xuanzong's reign (712-756 CE), a period known as the "Kaiyuan Prosperity" when feudal economy and culture reached unprecedented heights. This era produced numerous famous writers and poets, and remarkable achievements were made in the fields of dance and music.

Key Information

The academy was divided into different sections based on performance style and status:
- Sitting Division (Zuo Bu): Featured elite performers who sat while playing instruments. Performances were elegant, with 3-12 dancers accompanied by silk and bamboo instruments.
- Standing Division (Li Bu): Consisted of general performers who stood while playing. Dances were majestic and powerful, with 60-80 performers accompanied by loud instruments like drums and gongs.
- Children's Division (Xiao Bu): A children's performance troupe.
- Dance Division: Further divided into civil dances (Wen Wu) and martial dances (Jian Wu).

Cultural Significance

Li Yuan holds immense cultural significance in Chinese performing arts history. It represents the first systematic attempt to create a comprehensive institution for training performers in multiple disciplines. The academy produced numerous renowned artists, including Gongsun Dainiang, whose sword dance was celebrated in poems by Du Fu:

"Her dance was as brilliant as Hou Yi shooting down nine suns,\n> As agile as gods riding dragons in the sky.\n> Her entrance was like thunder gathering its rage,\n> Her departure as rivers and seas凝结青光 (condensing green light)."

The academy also influenced other art forms. According to Du Fu, the calligrapher Zhang Xu improved his草书 (cursive script) after watching Gongsun Dainiang's sword dance performance.

Li Yuan's organizational model influenced later performing arts institutions in China. The term "Li Yuan" became a metonym for the traditional performing arts community, and performers continue to be called "Li Yuan disciples" today. The academy's emphasis on comprehensive training across multiple art forms set a precedent for Chinese performing arts education.

Modern Status

While Li Yuan as an institution no longer exists, its legacy continues in various forms:

1. Performing Arts Terminology: The term "Li Yuan" remains widely used in Chinese opera and theater circles.

2. Historical Sites: Several locations in Xi'an claim to be the original site of Li Yuan, though the exact location remains uncertain. Potential sites include:

3. Lishan Xiuling Canyon in Lintong District, east of Xi'an
4. Chunlin Village near Qujiang Pool in southeast Xi'an
5. Wumen Village northeast of Xi'an near Daming Palace

6. Within or near the "Imperial Garden" (north of Wei River, south of Xi'an)

7. Related Institutions: The "Jiaofang" (教坊), similar to Li Yuan, focused on歌舞 (song and dance) and百戏 (variety shows). Established during Emperor Gaozu's reign, it was reorganized by Emperor Xuanzong in 714 CE to specialize in secular music. The Jiaofang system continued through various dynasties until it was abolished in 1729 CE during the Yongzheng Emperor's reign.

8. Modern Craftsmanship: Traditional craftsmanship related to performing arts continues, as evidenced by establishments like:

9. Ma Liangzheng Huqin Shop: Founded in 1911 by Ma Liangzheng, a京胡 (jinghu) maker.
10. Shi Shanpeng Bamboo Qin Society: Established by Shi Shanpeng, another renowned jinghu maker.
11. Ba'an Scenery Studio: Founded in 1931 by Wu Bao'an, specializing in stage scenery and lighting.

12. Dehua Scenery Studio: Established in 1944 by Ma Deshan, known for inventing gasoline-powered spotlights.

13. Costume and Prop Making: Traditional workshops for creating costumes, props, and accessories continue to preserve these crafts, including:

14. Li Chun: Beijing's first戏曲服装 (opera costume) designer.
15. San Yi Yong Costume Shop: Founded in the 1930s, creating costumes for major opera troupes.
16. Deju Helmet Shop: Beijing's first specialized opera helmet shop.

17. Longshengzhai: Known for opera boots marked "Boots Gao".

18. Li Yuan Cemetery: Several burial sites for performers were established, including:

19. Anqing Yi Yuan: The earliest "Li Yuan cemetery" established in 1790 by the Sanqing Opera Troupe.
20. Chuntai Yi Yuan: Established in 1835 by the Chuntai Opera Troupe.

References

1. Mackerras, Colin. The Chinese Theatre in Modern Times: From 1840 to the Present. University of Hawaii Press, 1975.

2. Pian, Rulan. Song Music in the Tong Dynasty: Study of Sources. Harvard University Press, 1967.

3. Johnson, David. The Tang Dynasty: China's Golden Age. Oxford University Press, 2014.

4. Chang, Kang-i Sun and Haun Saussy, eds. Women Writers of Traditional China: An Anthology of Poetry and Criticism. Stanford University Press, 1999.

5. Spencer, Paul. Theatre and Drama in China. Manchester University Press, 2011.