The similarity noted between the costumes and music of Japan is no surprise really. Japanese culture received a big “boost” in the Nara/Tempyo/Heian periods (roughly analogous to the T’ang Dynasty and the following dynasties in China). Much of the instrumental and musical traditions were received from China via Korea (more specifically the kingdoms of Southern part of the Korean peninsula).

As pointed out, the instruments in the Shosoin Imperial Collection are essentially T’ang instruments – made in China, imported to Japan. The Court Music tradition of Japan, Gagaku, is also directly related to Chinese Yen yue/Ya yue and Korean Ah ak. The instrument construction is older and playing style more ‘classical’. The pipa, for example, is played horizontally, rather than vertically. In terms of instrument construction too – it has far fewer frets than the modern form of the pipa, which is a 20th century form as it is.

Considering the proximity of Fujian with Japan (as opposed to places like Changan) it is no surprise then that a great deal of the culture is shared.

Also, on the comment about the T’ang style costume resembling kimono without an obi, it’s worth noting that the Heian period costume (AD c.900-c.1400) did not have an obi which is a later convention. Much closer when you compare the Heian junihitoe of the period with the T’ang clothes the women wear.

As pointed out above though, it is impossible to say how much change has occured in the musical practices of Nankuan, since much of the tradition is passed on aurally. It definitely has roots in T’ang music, and is probably one of the oldest continued chamber music traditions in the world; passed down by teacher to student over generations.

It is quite hard to find recordings of this style of music. There was a set of 6 CDs, recorded by Ocora (of Radio France) which featured a Taiwanese woman performing Nan kuan. Liner notes included English and are worth looking for as further research.

Anyways, I’m really glad I found this site. So much information, and great videos. Is there anyway to get more information about future performances by this ensemble?

- S-T. Speechley

Brief Introduction of Nanyin:

Nanyin (also known as Nankuan, Namguan) is the traditional form of music of the Quanzhou Hokkiens. It is basically played by an ensemble consisting of a Pipa, Sanxian, Dongxiao and Erxian, with a clapper. This is the so called the four instruments (Si Guan). There is also the ten tones (Shi Yin) which consist of a flute, Aizai (Ai-a in hokkien, which is a Hokkien suona) and a few percussion instruments.

This form of music has its roots to ancient Chinese music, and has elements from Tang dynasty music. The formation of the ensemble is typically seen in Tang dynasty paintings of musicians. Besides, the instruments are even better evidence that this form of music is ancient: the Pipa being played horizontally, the Erxian which is almost the same as the ancient Xiqin (still used it in Korea), the Dongxiao or vertical flute which is 1 feet and 8 inches (according to old Chinese ruler), the clapper which is made up of 5 pieces of wood etc. The appearance and structure of these instruments and the way they are performed are truly ancient, when instruments in all other parts of China have evolved into what we see in the Chinese orchestra. This is precisely the reason why some people say they resemble Japanese music instruments which unarguably have their roots traced to the Tang kingdom (check out those in the Shosoin). To say Nanyin is Tang dynasty or even Han dynasty music is actually overly generalised. I would prefer to say that there are Tang dynasty elements in it, and it is formed and enriched over the later dynasties. Till now, Nanyin pieces still use the ancient form of score known as gong-chi score, and titles are often similar to Song dynasty ones. The songs of Nanyin are sung in classical Quanzhou accent Minnan dialect, which is also recognised by many linguists to be one of the most ancient form of Han language in China, preserving much elements of ancient and archaic Chinese.

This form of music reached its peak in the Qing dynasty when the imperial scholar Li Guangdi (if you watched the Chinese serial Kangxi Emperor, you will know who he is), who is a native of Hutou Town, Anxi County, Quanzhou Prefecture took an ensemble to perform in front of Emperor Kangxi, earning the musicians the title “Yu Qian Qing Ke”, or “Musicians of the Imperial Hall”.

Nanyin in its birthplace, Quanzhou region of Fujian province, is very popular. This form of music has been widely utilised and incorporated into many opera forms like Liyuan Opera, Gaojia (Gaogak as Anxi Hokkiens call it) Opera, String and Hand Puppets etc, all of which native to Quanzhou region. In cities and counties of Quanzhou, it is not difficult to hear the sounds of Nanyin, both in cities and villages. This music form definitely has an inseparable place in the hearts of old “Chuan Chew Lang” (Quanzhou Hokkien), not because of anything, but because it is their “Hiong Yim” (hometown music), which sings out their “Hiong Jieng” (nostalgia).