Exploring The Emergence And Historical Changes Of Music Performers Belonging To Temples

"Music performers belonging to Buddhist temples" are a unique group of laity in Chinese Buddhist temples who undertake music performances to pay respect for Buddha.At the very beginning,the author saw the concept of "music performers belonging to Buddhist temples" in the book "Shanxi Yuehu Research" by Mr.Xiang Yang,and its novel concept aroused the author’s great interest for further research.The group of music performers belonging to Buddhist temples did not exist for a long time in the history of Chinese Buddhist temples,and later disappeared in the history of the development of Chinese Buddhist temples.Therefore,the development of the group of "music performers belonging to Buddhist temples" in the history of Chinese Buddhism "from emergence to dissipation" become the core research content of this paper.On the basis of absorbing and learning from the related achievements of predecessors,this paper elaborates on four chapters:The main content of the first chapter is the reasons for the existence of the lay music performer serving Buddhist temples,which takes the existence of the lay music performer in the early Indian Buddhism as the research starting point.The main content of the second chapter is to explore the emergence of the lay music performer belonging to Buddhist temples in Chinese Buddhist temples(i.e.,the emergence of "music performers belonging to Buddhist temples").Because the emergence is due to the Laity system of Buddhist Temples,which originated from "Sengqi Hu" and "Fotu Hu" proposed by the master Tan Yao during the Northern Wei Dynasty,this chapter takes it as the research starting point to explain.On the same time,this chapter also explores the different types of people who constitute the group of "music performers belonging to Buddhist temples".The main content of the third chapter is to explore the change of the appellationof "musicperformersbelongingtoBuddhisttemples" from "FotuHu" and "SiHu" intheearlydaysto "YinSheng" inTangdynasty.Andthen,througha detailed combing and summarizing of the characteristics of different classes of Yue Hu in the Tang Dynasty, the identities of music performers who belong to thetemplewiththenatureofyuehuaregraded.The main content of the fourth chapter is to explore the reasons why the group of "music performers belonging to Buddhist temples" dissipated from the Chinese Buddhist temple at the end of the Tang Dynasty and the beginning of the Song Dynasty.