Tag Archives: China

Xuanzang and Journey to the West

Nationality: Chinese
Age: 21
Occupation: Engineer
Residence: San Francisco, CA
Performance Date: 4.30.2014
Primary Language: English
Language: Chinese

Item:

“I remember my grandma always talking about some Chinese monk and I never really pieced together until like… until I was much older that the show I watched was exactly that.”

The legend of Xuanzang, a Chinese buddhist monk who traveled from China to India on a pilgrimage, lead to many stories, authored works, and even some anthropomorphic tales that became prominent in popular culture. The informant grew up watching a TV show, Journey to the West, based on the legend. It covered the story of Sun Wukong, the Monkey King, who was an anthropomorphized version of Xuanzang who went on a journey similar to that of the monk, but with obvious fictionalization for the purpose of the show.

 

Context:

For the informant, watching the show was a big deal. Being born in America but having only Chinese roots created a bit of a clash between cultures, especially at a young age. Hearing the story of Xuanzang from parents and grandparents, and then watching the show provided for her an entertaining connection to her culture. Beyond that, it was also a opportunity to talk to other 2nd generation kids about something they had in common outside of being just that.

 

Analysis:

It’s perhaps appropriate that the popularization and fictionalization of an authored work based on folklore is what it takes to connect some kids to the actual folklore in the first place. A TV show can captivate kids really easily, and then through curiosity they go about connecting with the actual folklore at the same time. Also, a lot of this comes from the 16th century novelization (also called Journey to the West) which can be found here.

Cheng Miao and the Clerical Script

Nationality: Taiwan
Age: 51
Occupation: Businessman
Residence: Bay Area, California
Performance Date: March 21, 2014
Primary Language: Chinese
Language: English, Hokkien

[Translated from Mandarin]

The clerical script, or lìshū (隸書), is a form of Chinese calligraphy that is said to have been invented by Chéng Miǎo (程邈), who had somehow offended the emperor Qín Shǐ Huáng (秦始皇) of the Qin dynasty. Qín Shǐ Huáng threw Chéng Miǎo into prison. However, during his time in prison, Chéng Miǎo was able to simplify Chinese script. You see, before the clerical script was invented, Chinese characters were written in seal script, or zhuànshū, which had many curving strokes that were complicated to write.

The prison guards discovered that Chéng Miǎo’s clerical script was much more efficient to write than seal script, and they showed Qín Shǐ Huáng. Qín Shǐ Huáng was very pleased with Chéng Miǎo’s new script and decided to change the Chinese kingdom’s writing to clerical script. Because of this, Chéng Miǎo was released from prison and rewarded with a high governmental position.

—

The informant is a calligrapher and had learned this legend from friends from whom he first learned calligraphy. Though Chéng Miǎo’s feats sound realistic, there are people who doubt that Qín Shǐ Huáng would be so lenient on someone who changed a writing system that the emperor had just unified shortly before. Recent evidence has also suggested that clerical script may have been invented by a team of people, as opposed to one single person. It is interesting that even the development of Chinese calligraphy has such debatable folklore.

Cāng Jié and the Origin of the Chinese Writing System

Nationality: Taiwan
Age: 51
Occupation: Businessman
Residence: Bay Area, California
Performance Date: March 18, 2014
Primary Language: Chinese
Language: English, Hokkien

[Translated from Mandarin]

Back in the early years of Chinese history, a four-eyed man named Cāng Jié (倉頡) was the historiographer of the Yellow Emperor. To record things, Cāng Jié used the rope-tying method, the only form of documentation around during that time. After a while, the more Cāng Jié stared at his repetitive knots, the less he remembered what they stood for. He was frustrated.

One day he passed by a group of quarreling old men at an intersection. Each of them was arguing which road led to his home. One claimed a pair of tigers lived on his road. Another said that some deer lived on his road. The last one stated that goats lived on his road. The dispute was eventually settled when they discovered that the trails of animal prints on the ground told them which way each should go. Cāng Jié was inspired by this—if every animal has its own prints to distinguish its identity, every object in the world should have its own symbol too.

Cāng Jié then proceeded to simplify the shapes and essences of objects in the world into characters composed of simple lines. Soon he developed a whole system of written characters that each imitated what they represented. When Cāng Jié completed the writing system, the skies started raining millet, and ghosts in the ground cried at night.

In the end, both Cāng Jié and the Yellow Emperor were pleased, and Cāng Jié’s writing system was used as the standard writing system in the emperor’s unification of the kingdom.

—

The informant is a calligrapher and had learned this legend from friends from whom he first learned calligraphy. Cāng Jié is an interesting character because his role in Chinese history is realistic though the details of his deeds and his appearance may have very well been exaggerated. 

The Monkey God

Nationality: American (ethnicity: Chinese)
Age: 19
Occupation: Student
Residence: Los Angeles, California (Originally from Alameda, California)
Performance Date: 5/1/13
Primary Language: English
Language: Chinese

Item:

“Ok so the story is called, I think like the English translation is called, like the Monkey God, or like the Monkey King or something. Basically it’s about this, uh, this like monkey character in like Chinese mythology, who uh, like he’s born basically with godlike characteristics. Um and he proves himself like a very strong warrior, uh like very smart, things like that. Um, but he greatly angers the gods, like in heaven, in this, it’s set in like a Buddhist context, kind of. He greatly angers the gods, so, he’s kind of like uh, he’s not exactly a full-fledged god in their eyes. Um so he greatly angers them so he’s basically punished for I think like 500 years, he’s punished um to like basically like have this like giant mountain, be on top of him for 500 years and that’s his punishment. Um and he is basically set free when this Buddhist monk um comes by and decides to accept him as his disciple, um and basically the rest of the story is about this monk as he, he gathers two more disciples, each of them have sin in their own way, and basically it’s about his journey to India to, I dunno, achieve some sort of salvation of some sort. Um, and basically like his disciples greatly help him along the way, and the whole myth is about their misadventures, facing adversities and stuff, and overcoming it. Um and basically about how this monkey god sort of redeems himself for all of the sin that he’s committed.”

Context:

The informant said that “it’s like a really popular Chinese folklore. Like I used to watch cartoons of it when I was little. Yeah so like um, it’s a really long myth so like basically it’s like broken up into a ton of episodes. Um yeah so I used to just watch it as a kid. They had a lot of different versions of it, animated and live action.” She also would hear parts of the story while attending Chinese school as a child.

Analysis:

My research revealed that the story, as most people know it, stems from Wu Cheng’en’s 1592 novel, Journey to the West. The novel itself is a fictionalized account of the pilgrimage to India of the Buddhist monk Xuanzang, already a legendary figure by the 16th century. That this story about a Buddhist monk is so popular says a lot about Chinese culture, mainly that the ascetic life of a monk is something that all people can learn valuable lessons from.

Here is a link to the USC library page on the book, where it’s call number can be found, as I could not find the full text online: https://library.usc.edu/uhtbin/cgisirsi/x/0/0/5?searchdata1=4023263{CKEY}

Xue Shan Chun Xiao (musical performance)

Nationality: Chinese
Age: 53
Occupation: Manager
Residence: Beijing, China
Performance Date: 2/15/13
Primary Language: Chinese
Language: Chinese

Analysis/Observation: The song is played on a traditional Chinese instrument called a “zither”. It is a Chinese folk instrument that is plucked as a harp. Like most Chinese instruments, it is either played in D or G major, and usually consists of five notes: Do, Re, Mi, So, La. There are 21 strings, and the sounds get lower as strings get thicker. The green strings symbolize the note “So”. It is made of wood, and usually has traditional art carvings along the side of the instrument, and is hollow inside.

The song is called “Xue Shan Chun Xiao”. Translated roughly, it means “Spring on the Mountain.”

The song started out very slow and sweet. The informant performed it with slow, exaggerated motions in her arms. She seemed very peaceful. In the middle, the song suddenly picked up pace and there was a very intense section where her fingers are moving very fast. She has an intense expression on her face, although it also looks like she’s concentrating very hard on plucking the right notes. The song ends with a “bang” like effect.

Informant (translated) : “The song is a minority dance song that is supposed to mimic the flow of water when it is spring. When the snow melts from a mountain, it starts slow, then suddenly goes faster and faster as more ice melts.”

Me: “When is this song normally performed?”

Informant: “It’s a more modern song that comes from the Dai minority. However it’s not a dance song. In traditional fol music, you have dance songs, and then you have solo songs. It’s actually used a lot in music exams because of the technique you need.”

Analysis: The Dai people reside in the province of Yunnan, where there is a mountain called the Jade Dragon Snow mountain. The mountain is approximately half the height of Mount Everest. The piece of music is most likely referring to this mountain and the flow of water into the river come spring. The Dai minority is commonly known for their festive dances that they do at the spring festival, so the song is not commonly played during the festival as it is not a dance piece. It is more often played during concerts or as a prelude to a show.

Annotation: Due to the large file of the original recording, it could not be uploaded. A link to the same piece (played by someone other than the informant) has been attached.

Xue Shan Chun Xiao

A variation of the GuZheng appeared the popular film “Gong Fu” or “Kung Fu Hustle”, which opened in 2004.

Recently, using Chinese traditional folk instruments to play pop music has become a trend. A girl playing Adele’s Rolling in the Deep on the zither went viral in Chinese forums.