Niu Hong, courtesy name Liren, was from Anding Chunhu and originally had the surname Yi. His grandfather Yi Chi was the magistrate of Zhongzheng in the county. His father Yi Yun served as Shizhong and Minister of Works in the Kingdom of Wei and was granted the title Duke of Linjing, later adopting the surname Niu. When Niu Hong was just an infant, a fortune teller saw him and told his father, "This child will be very prominent in the future; you must raise him well." As he grew up, Niu Hong became tall and strong, known for his generous personality, love of learning, and extensive knowledge.
During the Northern Zhou Dynasty, he began his career as a minor official in the Zhongwai Prefecture and quickly earned a solid reputation, rising to become a senior official in charge of handling documents. He was later promoted to General Weilie and External Cavalry Attendant, and was also tasked with compiling the records of daily activities. He then inherited his father's title as Duke of Linjing. In the first year of Emperor Wen of Sui's Xuanzheng reign, he was promoted to Deputy Minister of the Interior and appointed as Commander-in-Chief, and held the title of Yitong Sanqi. During the reign of Emperor Wen of Sui, he was further promoted to Cavalier Attendant and Director of the Imperial Secretariat. After discovering that many classical texts had been lost and scattered, he petitioned the emperor to create a means for submitting books, stating in his memorial:
"The revival of classical texts has a long-standing history. Fuxi created the Eight Trigrams, while Cangjie invented writing. The sages used these to promote education in the court and spread it among the people. Therefore, Yao was called the Supreme Sage because he studied ancient principles; Shun was called the Great Wise because he learned from the experiences of ancient sages. The Wai Shu of the Zhou Dynasty was in charge of the books of the Three Sovereigns and Five Emperors and the records of various regions. King Wu asked Huangdi and Zhuanxu for advice on governing the country, and Taigong said, 'It is in the Book of Documents.' It can be seen that whether it is the state or the family, who does not use the Book of Songs and the Book of Documents for education, and use rituals and music to achieve success?"
In the past, during the decline of the Zhou dynasty, the old classics were lost. Confucius, with his great talent, established the cause of the virtuous kings, inherited and carried forward the achievements of his ancestors, compiled the "Book of Rites," edited the "Book of Songs," organized the Five Classics, wrote the "Spring and Autumn Annals," expounded the "Ten Wings," and promoted the principles of the "Book of Changes." He set examples for governing the country and establishing oneself. When Qin Shihuang unified the country and annexed the vassal states, relying on strong military force, without learning from the experiences of the ancients, he ordered the burning of books and the burying of scholars alive, implementing severe literary persecution. The classics of the previous dynasties were completely destroyed. With the foundation gone, the country also perished. Using the language of divination, the rise and fall of these classics can indeed be traced. This was the first catastrophe of books.
After the rise of the Han dynasty, the oppressive policies of the Qin dynasty were overturned, Confucianism was promoted, a strategy for preserving books was formulated, and the position of chief librarian was created. Lost books were frequently discovered in the walls of homes, caves, and other locations. The court had libraries of the Grand Preceptor and the Grand Historian, and the palace also had repositories of the Imperial Library and the Secretariat. During the reign of Emperor Xiaocheng, there were still many lost books, so the envoy Chen Nong was sent to search for lost books nationwide, and Liu Xiang and his son were ordered to collate the classics. As a result, the classics and literature of the Han dynasty reached their peak. By the end of Wang Mang's reign, a rebellion broke out in Chang'an, and the palace and books were reduced to ashes. This was the second catastrophe of books.
Emperor Guangwu, after ascending the throne, attached great importance to the classics and immediately sought out scholars and literati before even getting off his carriage. As a result, many famous scholars came carrying books. Emperor Suzong personally presided over lectures, and Emperor He visited the libraries several times. The classics were stacked high in places such as the Lantai, Shishi, Hongdu, and Dongguan, even more than before. When Emperor Xiaoxian moved the capital to Luoyang, chaos ensued, leading to books and silk scrolls being repurposed into tents. Only over seventy carts made it to Luoyang. During the chaos in the Western Capital, the books were once again set ablaze. This was the third catastrophe of books.
After Wei Wen Emperor replaced the Han Dynasty, he collected classics, all stored in the Secretariat and the Three Pavilions, and sent the Secretary Zheng Mo to edit the existing texts. At that time, critics praised him for distinguishing the genuine from the spurious. The Jin Dynasty built upon the achievements of the Wei Dynasty, and the classics became even more abundant. The Jin Dynasty's Secretary-in-Chief Xun Xu edited the Wei Dynasty's "Nei Jing" and also wrote the "Xin Bu." Although the ancient classics were simple and some were missing, the newly organized texts had already collected many, enough to promote the correct principles and enlighten society. However, later Liu Yao and Shi Le rebelled, Luoyang was breached, and the court's institutions and regulations were lost. This marked the fourth great calamity for books.
After the Yongjia period, banditry flourished. They occupied the Yellow River banks, controlled Luoyang, and traversed Qin and Zhao territories. Although they managed to establish a regime, the ceremonial and musical traditions vanished. Liu Yu eliminated Yao Chang, seized his collection of texts, and there were only four thousand volumes of the Five Classics and History, all bound with red silk scrolls and blue paper, with ancient text. The scale of usurpation did not surpass that of the Qin Dynasty on two occasions, and this is enough to understand. Therefore, clothing, adornments, illustrated texts, and commentaries, after the wars, all ultimately found their way to the Jiangnan region. During the Jin and Song Dynasties, there was a flourishing of scholarship, and during the Qi and Liang Dynasties, historical classics experienced a revival. The Song Dynasty's Chief of the Secretariat Wang Jian, drawing on Liu Xin's "Seven Summaries," wrote "Seven Records." Ruan Xiaoxu from the Liang Dynasty similarly authored "Seven Records." The total number of texts exceeded thirty thousand volumes.
Hou Jing crossed the Yangtze River and defeated the Liang Dynasty. Although the secret texts were destroyed in the conflict, the books in the Wende Hall were left unharmed. Xiao Yi occupied Jiangling and deployed troops to subdue Hou Jing, confiscating books from the Wende Hall as well as public and private libraries, totaling more than seventy thousand volumes, which were all sent to Jingzhou. As a result, all the books from south of the Yangtze River were amassed by Xiao Yi. Later, the Zhou forces launched an attack on Yingzhou, and Xiao Yi burned all these books in the outer city, leaving only a tenth. This marked the fifth great calamity for books.
The Northern Wei dynasty relocated its capital from Youzhou to Luoyang, managing numerous affairs, which led to a loss of texts and classics. The Zhou dynasty established its authority in Guanzhong amid ongoing warfare. In the early years of the Boding era, there were merely eight thousand volumes, and later, additional volumes were collected, bringing the total to ten thousand. The Northern Qi took control of Shandong and also gathered books, reviewing the catalog and discovering many gaps. After the Eastern Wei unified, they acquired historical texts, with over thirty thousand volumes from the four categories all mixed together. Only an additional five thousand volumes were added to the old collection. Currently, the imperial palace houses over fifteen thousand volumes, but there are still gaps within the categories. Compared to the books from the Liang Dynasty, only half of the originals remain. As for the texts on Yin and Yang, the He Luo region, medical texts, and similar subjects, there are even fewer.
I believe that since Confucius, the classics have endured for over a thousand years and have gone through five calamities. Now is a time of prosperity, the age of enlightenment. Your Majesty has been mandated by heaven to rule the world, with achievements and virtues surpassing all emperors in history. Since the division of Huaxia, rituals and music have deteriorated. Although there have been rising warlords, the turmoil has not subsided, and the opportunity to promote Confucianism is not yet ripe. Today, our territory is larger than that of the three previous dynasties, and the population is greater than that of the Han Dynasty. The timing is right to ensure peace throughout the realm. It is essential to recover and disseminate lost texts, in accordance with the sages' teachings to perpetuate education endlessly. As the custodian of historical records, I am troubled day and night. In the past, Lu Jia advised Emperor Gaozu of Han, "The world cannot be governed immediately." Effective governance relies on laws and institutions. The foundation of a country is no less important than this. The books in the palace are sufficient for reading, but existing books must be improved. It is unacceptable for the palace to be without books while private individuals possess them. It is difficult to find books among the common people, and even if someone knows, they are often reluctant to share. This must be enforced with authority and incentivized through rewards. By widely issuing decrees and offering rewards, precious classics will undoubtedly be collected, the collection in the palace will increase, and the promotion of Confucianism will flourish beyond that of previous generations. Is this not good? I respectfully request Your Majesty to grant permission to examine the memorial. The Emperor accepted his suggestion and issued an edict rewarding him with a book and a piece of silk. Over the course of one or two years, his works came to fruition. The Emperor then elevated him to the rank of Duke of Qizhang County with a fief of 1,500 households. Three years later, he was appointed Minister of Rites and assigned the task of compiling the "Five Rituals," ultimately producing a hundred volumes that gained widespread circulation at the time. He requested to construct a Mingtang in accordance with ancient traditions, to which the Emperor replied:
"The emperor agreed and then ordered that he be rewarded with a book and a piece of fabric. After about one or two years, his writings were nearly complete. The emperor promoted him once more, granting him the title of Duke of Qizhang County and bestowing upon him a fief of fifteen hundred households. Three years later, he became the Minister of Rites, and the emperor tasked him with revising the 'Five Rites.' He wrote one hundred scrolls, which quickly gained popularity at that time. He proposed constructing the Mingtang based on ancient methods, and the emperor said: 'I believe the Mingtang serves to communicate with the divine, connect with heaven and earth, promote education, and honor virtuous people. The 'Classic of Filial Piety' says: 'Sacrifice to King Wen in the Mingtang, to match the gods.' The 'Rites of Sacrifice' says: 'Sacrificing in the Mingtang is to teach the princes filial piety.' The Yellow Emperor called it the 'Harmonious Palace,' Yao called it the 'Five Treasuries,' and Shun called it the 'General Chapter,' used for governance and administration, with a rich historical legacy. The 'Record of Rites' in the 'Zhou Li' says: 'The hall in the Xia Dynasty is fourteen steps in length, with the width being a quarter of the length plus the length itself.' Zheng Xuan clarified: 'The length is fourteen steps, and the width is the length plus a quarter of that, totaling seventeen and a half steps.' 'The heavy house in the Yin Dynasty, the hall is seven xun in length, surrounded by heavy houses on all four sides.' Zheng Xuan explained: 'Seven xun in length, nine xun in width.' 'The Mingtang in the Zhou Dynasty, measured using a nine-foot-wide mat, seven mats each north and south, five rooms, each room with two mats.' Zheng Xuan explained: 'While the descriptions vary, they all indicate a shared system.' The annotations by Ma Rong, Wang Su, and Gan Bao differ from those of Zheng Xuan, and they are not listed here one by one."
Ma Gong, the Minister of Works during the Han Dynasty, said: "The ancestral halls of the Xia Dynasty have rooms that are more distinct than the main hall, so they are called ancestral halls. The heavy buildings of the Yin Dynasty have roofs that stand out more than the main hall, so they are called heavy buildings. The bright main halls of the Zhou Dynasty are larger than those of the Xia Dynasty, so they are called bright main halls. The Xia Dynasty increased the width of the main hall by 144 feet, and the bright main hall of the Zhou Dynasty is 72 feet wider between the two rows than the Xia Dynasty’s." Zheng Xuan claims that the ancestral halls of the Xia Dynasty are larger than those of the Zhou Dynasty; according to Ma Gong, the bright main halls of the Zhou Dynasty are larger than the ancestral halls of the Xia Dynasty. Later emperors followed the Zhou Dynasty's view and believed that the bright main halls of the Zhou Dynasty were larger. However, I still haven't fully grasped Ma Gong's perspective. These events are from long ago, and the ritual systems were incomplete, leading to various interpretations by the ancients. In his commentary on "Yuzao," Zheng Xuan also stated: "The system of ancestral temples, sleeping quarters, and main halls is the same." "Wang Zhi" says: "The sleeping hall cannot exceed the ancestral temple." This indicates that their sizes are identical. According to Zheng Xuan's commentary, each room and main hall is only a little over four feet of space outside the four walls. If we consider the ancestral temple, during major sacrifices, the Zhou Dynasty needed to honor six ancestors, plus Houji, making a total of seven, then two each for Xiangu and Xianwang, for a total of eleven ancestors, along with thirty-six spirits to be honored, with the monarch standing to the north in a main hall that is two zhang wide. I think the space is too cramped.
If we consider the formal seating arrangements, a morning assembly banquet is usually held. The "Yan Li" says: "At the banquet of the feudal lords, guests and ministers can take off their shoes and sit at the head of the table." In other words, at the emperor's banquet, the Three Dukes and Nine Ministers must all be present. The "Yan Yi" also states: "In seating arrangements, lower-ranking officials sit above higher-ranking ones." This means that everyone sits in their designated seats. With only two seats in total, how can there be room for ceremonies? If we consider the Mingtang layout, during grand sacrifices, the Five Emperors each occupy their own rooms. For example, the seat for the Green Emperor must be in the wooden chamber, slightly towards the northwest. Taihao, as the sacrificial attendant, sits to the west of the Green Emperor, closer to the north-south direction. The ancestors who receive offerings sit to the south of the Green Emperor, slightly to the west. In an eighteen-foot room, there are three divine seats, along with sacrificial vessels, sacrificial offerings of cattle and sheep, as well as tributes from the Four Seas and Nine Provinces, all needing to be arranged. There is also singing at the table, arranging of wine vessels, bowing, moving forward and backward, but the space is far too small. Therefore, these interpretations are likely incorrect.
In Liu Xiang's "Bielu" (别录) and the records referred to by Ma Gong, Cai Yong, and others, there are many texts about the ancient Mingtang, including titles like "Ancient Mingtang Rituals," "Royal Mingtang Rituals," "Mingtang Diagram," "Great Mingtang Diagram," "Mingtang Yin and Yang," "Taishan Tongyi," and "The Filial Piety Classic of Marquis Wen of Wei." Unfortunately, these texts have all been lost, and it is impossible to verify the true situation at that time. The surviving text "Mingtang Yue Ling" is claimed by Zheng Xuan to have been written by Lv Buwei, the first chapter of "The Twelve Annals of the Spring and Autumn." Later, ritual scholars compiled it into a narrative. However, Cai Yong and Wang Su argue that this is a section of the "Zhou Book" attributed to the Duke of Zhou. Both sides present substantial evidence, which is beyond the scope of this discussion. Shu Xi posits that this text originates from the Xia Dynasty; Liu Xian believes it was compiled by Lv Buwei, who gathered scholars to collect materials on the ancient emperors' sacrificial rituals, as he doubts Lv Buwei's ability to have completed it alone. Now it seems that it cannot be fully classified as part of the "Zhou Book," nor can it be regarded as a classic of the Qin Dynasty, since it encompasses the systems of the Yu, Xia, Shang, and Zhou dynasties, all of which reflect the benevolent governance of the ancient sage kings.
Cai Yong explained in detail the chapters and content of this book, saying, "The Mingtang is used to worship ancestors and communicate with heaven. In the Xia Dynasty, it was called the World Hall, in the Shang Dynasty, it was called the Grand Hall, and in the Zhou Dynasty, it was called the Mingtang. The east side is called Qingyang, the south side is called Mingtang, the west side is called Zongzhang, the north side is called Xuantang, and the interior is referred to as Taishi. The sage sits facing south, managing state affairs while facing the light, and the king's seat should be placed like this. Although there are five names, the primary name remains Mingtang. The various systems of the Mingtang all have their basis. The Mingtang covers an area of one hundred and forty-four square feet, symbolizing the Kun hexagram; the roof is circular with a diameter of two hundred and sixteen feet, symbolizing the Qian hexagram. The area of the Taimei and Mingtang is six zhang square, and the Tongtian House has a diameter of nine zhang, reflecting the principles of Yin and Yang's nine-six changes; the circular roof atop the square structure also embodies the principles of nine and six. Eight doors symbolize the eight trigrams, nine rooms symbolize the nine provinces, and twelve palaces correspond to the twelve time periods. Thirty-six doors and seventy-two windows are the product of four households and eight windows, multiplied by the number of nine palaces. The doors all open outwards without closing, symbolizing a world of peace and transparency. The Tongtian House is eighty-one feet high, symbolizing the nine-nine of Huang Zhong. Twenty-eight columns are arranged in four directions, symbolizing the seven stars of the four directions. The Mingtang is three feet high, with each of the four directions featuring five colors, symbolizing different orientations. The water basin spans twenty-four zhang in width, symbolizing the twenty-four solar terms, and from an external perspective, it also represents the four seas. This is the grand ceremonies conducted by the emperor." Cai Yong believed that the design of the Mingtang imitates heaven and earth, embodying Yin and Yang, and must be based on ancient texts; its significance is not fabricated. If only the "Book of Rites" is referenced, and not the "Monthly Ordinances," then the names Qingyang and Zongzhang cannot be explained, nor can the ritual of sacrificing to the Emperor of Heaven in September be explained. The Mingtangs constructed in the two capitals during the Han Dynasty align with this assertion.
After the Jian'an period, the whole country was thrown into chaos, and the capital Luoyang was reduced to ashes, with the previous rules and systems all abandoned. The three factions of the Wei Kingdom were still not fully unified, and there was no intention to engage in any construction projects. During the Jin Dynasty, Court Official Pei Wei proposed, "It is clear that offering sacrifices to ancestors and the heavens is essential, but there is no clear system for the construction of ancestral temples. It is best to build a grand hall for the solemn worship of ancestors, and all the other small buildings should be demolished." From the Song Dynasty and Qi Dynasty onwards, everyone followed this practice. This indicates that the esteemed Confucian scholars of the time lacked any particularly profound insights, and the grand projects of the past were no longer undertaken.
The ancestral temple constructed by the Later Wei Dynasty following the capital's relocation was designed by Li Chong, featuring three rooms on the first floor, totaling nine rooms. The eaves did not cover the foundation, and the rooms opened directly onto the street, creating a chaotic scene, with a disordered mix of carvings everywhere; in short, there was nothing commendable about it. After relocating to Luoyang, they launched extensive construction efforts, but the results were chaotic and disorganized, and ultimately the ancestors had no proper place for worship.
The emperor wanted to build a grand hall on a large scale, which would have far-reaching implications. We mustn't take this matter lightly, so let's discuss the specifications of the grand hall.
First of all, why does the grand hall need five rooms? The "Shangshu Emperor's Command Verification" states that the emperor stands with the heavens, and there are five mansions, symbolized by the colors red, yellow, white, black, and blue, each corresponding to different functions. Zheng Xuan notes that these five mansions correspond to the grand halls of the Zhou Dynasty. While there have been variations across dynasties, the basic layout of five rooms has remained unchanged. For sacrificial ceremonies, there are five elements in the heavens, so if nine rooms were built, four rooms would be unnecessary, which would not make sense.
As for administration, which involves handling government affairs, it should be arranged according to the months. Zheng Sinong said that the twelve months correspond to different directions, but this does not affect the number of rooms. Zheng Xuan also mentioned that government affairs are conducted in the corresponding rooms each month, as depicted in the "Li Tu," so it must consist of five rooms.
Why must the Mingtang have a round top and a square bottom? The "Xiaojing Yuanshenqi" says that the Mingtang has a round top and a square bottom, with eight windows and four doors, and is the place for handling political affairs. The "Book of Rites · Shengde Chapter" also states that the Mingtang has four doors and eight windows, with a round top and square bottom. Chunyu Deng from the "Different Interpretations of the Five Classics" also says this, and Zheng Xuan agrees with this statement. Therefore, the Mingtang must have a round top.
Furthermore, why must the Mingtang have a heavy roof? The "Kaogongji" records that the Mingtang of the Xia Dynasty featured nine tiers of steps, with windows on all four sides, doors occupying two-thirds of the hall, and rooms occupying one-third. Although there are no specific records for the Shang and Zhou Dynasties, it was likely similar to that of the Xia Dynasty. The records from the Shang Dynasty refer to "four heavy eaves," and although the Zhou Dynasty does not mention heavy eaves, it inherited the system from the Shang Dynasty, so this suggests that the Mingtang also had a heavy roof. Although the records of the Shang Dynasty do not mention five rooms, Zheng Xuan's annotations suggest that the five rooms were inferred from the records of the Xia Dynasty. Although the Zhou Dynasty does not mention heavy eaves, since the Shang Dynasty did, the Mingtang should have a heavy roof.
The "Book of Rites · Mingtang Wei" says, "The emperor's Mingtang in the Grand Ancestral Hall," meaning that the state of Lu, as descendants of the Duke of Zhou, could use the rites and music system of the emperor, and the Grand Ancestral Hall of Lu and the Mingtang of the Zhou Dynasty were the same. The text also mentions, "The ancestral temple has a heavy roof, the pillars are adorned and the beams are elaborately crafted, the emperor's temple is decorated," and Zheng Xuan's annotations state that the "ancestral temple" refers to a heavy roof. Since the ancestral temple has a heavy roof, the Mingtang should also have a heavy roof. The "Spring and Autumn Annals" record that in the thirteenth year of Duke Wen, "the roof of the Grand Chamber collapsed," and the "Records of the Five Elements" state that "the front hall is referred to as the Grand Ancestral Temple, while the central hall is called the Grand Chamber," and Fu Qian also says, "The Grand Chamber is the roof above the Grand Ancestral Temple." The "Book of Zhou · Zuo Luo Chapter" states, "The Grand Ancestral Temple, Ancestral Palace, Luqin Mingtang were established, all with four heavy eaves and counter beams, heavy pillars and heavy corridors," and Kong Chao's annotations explain that "heavy pillars indicate multiple layers of roofing, while heavy corridors suggest a stacked design." The ancestral temples of the Han Dynasty all had heavy roofs, which is not far removed from our own time, and this architectural style is still in practice today, so the Mingtang must have a heavy roof.
Finally, why must Mingtang have Biyong? "The Book of Rites · Shengde Chapter" reveals the respect and rank of the princes. The outer water is referred to as Biyong. "Mingtang Yinyang Record" states: "The system of Mingtang, with a circular waterway, flows counterclockwise to symbolize the sky, and there is a Main Hall inside to symbolize the Purple Palace." This all indicates that Mingtang includes water. However, Ma Rong and Wang Su believe that Mingtang, Biyong, and Taixue are interconnected, while Cai Yong and Lu Zhi also believe that Mingtang, Lingtai, Biyong, and Taixue are in the same location under different names. Cai Yong says they are essentially the same. But there are differing opinions; "Comprehensive Interpretation of the Five Classics" states that Lingtai is for observing celestial phenomena, Mingtang is for handling political affairs, and Biyong is for elderly education, indicating that they are different. Yuan Zhun and Zheng Xuan also believe that they are different. Over the centuries, opinions have varied, making it difficult to reach a conclusion.
The "Records of Suburban Sacrifices" records that during the Han Dynasty, Mingtang was to be constructed, but the exact construction method was unclear. A man from Jinan, Gong Yushang, presented a Mingtang map from the time of the Yellow Emperor, which was an open hall topped with a thatched roof and surrounded by water. The emperor adopted this plan. This shows that Mingtang has a very ancient history. In the second year of the Han Dynasty, Mingtang, Biyong, and Lingtai were constructed separately in Luoyang. However, Mingtang also has water, as mentioned in Li You's "Inscription of Mingtang" with the phrase "flowing water," so Mingtang must also have Biyong.
When the emperor undertakes tasks, he must refer to historical lessons and experiences. Now, in building the Mingtang, the "Book of Rites" must serve as the blueprint. The building's shape should adhere to the system of the Zhou Dynasty, and the dimensions should be established based on the "Monthly Ordinances." If any shortcomings are found, one should consult additional texts to gain a comprehensive understanding of its developmental patterns. The Mingtang features five rooms and nine steps, with a round top and a square base, and a double-eaved roof on all four sides, with a door on each side, in accordance with the "Records of Examination of Crafts" and the "Classic of Filial Piety." The Mingtang measures 144 feet in length, the diameter of the circular eaves is 216 feet, the Great Hall measures six zhang in length, the diameter of the sky-penetrating roof is nine zhang, with a total of eight cardinal directions, twenty-eight pillars, a height of three feet, and each of the four cardinal directions adorned with five colors, all in accordance with the "Book of Zhou: Monthly Ordinances." From top to bottom, all follow the corresponding standards and symbolic meanings, adequate to convey piety to the heavens, respect for ancestors, promote moral education, and establish a model for future generations. We scholars possess limited knowledge and have not thoroughly studied the ancient classics, thus we hastily present our own opinions. We kindly ask for your judgment on their correctness.
The emperor was busy with state affairs at the time and did not have the time to attend to this matter. Ultimately, the matter was shelved and left unfinished.
Six years later, I was appointed Minister of Ceremonies. Nine years later, the emperor commanded me to revise the court music, and I also wrote lyrics for musical pieces, developed the music for the worship of the Five Emperors at the Circular Mound Altar, and took part in discussions regarding other musical affairs. The suggestions I presented to the emperor included: ...
Wow, this is talking about ancient music theory! In the "Book of Rites," it is said that the five tones, six pitches, and twelve notes all serve as the palace mode for each other. In the "Book of Zhou," playing Huangzhong and singing Dalü, playing Taicu and singing Yingzhong, these are all principles that serve as the palace mode for each other. Cai Yong wrote in the "Clarification of the Monthly Ordinances of the Bright Hall": "In the first month of spring, the Taicu is used as the palace, the Guxi as the shang, the Ruibin as the jue, the Nanlü as the zhi, the Yingzhong as the yu, the Dalü as the bian gong, and the Yize as the bian zhi. In other months, it follows the same pattern." Therefore, the ancient emperors established the pitch pipes to distinguish the sounds of heaven, earth, the four directions, yin, and yang. Yang Xiong once said: "Sound arises from the pitch pipes, and the pitch pipes arise from the stars." Therefore, the pitch pipes correspond to the five elements, traverse the eight winds, pass through the twelve chen, move through the twelve months, cycle endlessly, with a meaning that never stops. Just like at the beginning of spring when the wood energy prevails, the fire energy is generated; at the beginning of summer when the fire energy prevails, the earth energy is generated; in the end of summer when the earth energy prevails, the metal energy is generated; at the beginning of autumn when the metal energy prevails, the water energy is generated; at the beginning of winter when the water energy prevails, the wood energy is generated. Serving as the palace mode for each other means that when a specific season's element is dominant, it is used as the palace mode. Now, if in November the Huangzhong is not used as the palace mode, and in the thirteenth month the Taicu is not used as the palace mode, isn't that an imbalance of yin and yang, disrupting the connection between heaven and earth? Liu Xin said in the "Book of Bells and Pitch Pipes": "Use the palace mode in spring and the pitch pipes in autumn, and all flowers will wither; use the palace mode in autumn and the pitch pipes in spring, and all things will flourish; use the palace mode in summer and the pitch pipes in winter, and rain and hail will surely fall; use the palace mode in winter and the pitch pipes in summer, and thunder will surely sound." Looking at these, the theory of musical pitch and notes is really not easy! Furthermore, there are twelve pitch pipes, but now only the Huangzhong is used as the standard, only seven pitch pipes are used, and the remaining five pitch pipes are abandoned and not used, how can this be used? It is probably against the original intention of the sages. Therefore, we must follow the method of mutual palace modes as outlined in the "Book of Rites."
Earlier, someone said, "We don’t need to complicate things with various palace tones; just use Huangzhong as the standard tone." Then another person countered that the sixty pitches aren't workable either: Emperor Yuan of Han sent Wei Xuan Cheng to the music bureau to consult Jing Fang about the pitch system. Jing Fang replied, "My teacher was Xiaohuang Ling Jiaoyanshou." The rules for generating the sixty pitches are as follows: the upper and lower generations follow a three-to-two ratio, while the lower and upper generations follow a three-to-four ratio. Yang gives rise to Yin, Yin gives rise to Yang, and eventually to Zhonglv, completing all twelve pitches. The upper and lower generations lead to Nanshi, completing all sixty pitches. The twelve pitches transform into sixty pitches, much like how the Bagua evolves into sixty-four hexagrams. The pitch system for the winter solstice, using Huangzhong as the tonic, Taicu as the subdominant, Guxi as the mediant, Linzhong as the dominant, Nanlv as the submediant, Yingzhong as the altered tonic, and Ruibin as the altered dominant. These are the fundamentals of the pitch system and the standards of the pentatonic scale, with each corresponding to a day. The others follow in sequence, with the pitch system for that day serving as the tonic, and the subdominant following along.
Jing Fang also stated that bamboo tubes are not suitable for accurately measuring pitch; therefore, a standard instrument needs to be created to establish the numerical values of pitch. This instrument resembles a se, measuring one zhang in length and featuring thirteen strings, each nine chi long, corresponding to the Huangzhong pitch. The middle string is divided downward by cun, which is used to ascertain the purity of the sixty pitches. The names of the modes, such as zhishi, were all coined by Jing Fang. Jing Fang said he learned from Jiao Yanshou, but it remains unclear where Jiao Yanshou acquired his knowledge. During the Yuanhe period, the Palace Attendant Hou Zhonglu Yin You submitted a memorial stating that no one at court understood the sixty pitches necessary for pitch calibration, so he asked the Palace Attendant Yan Chong to teach his son Yan Xuan using the correct method of making the instrument, hoping to appoint Yan Xuan as an instructor responsible for calibrating the instruments. The Senior Historiographer Hong Kao examined Yan Xuan's understanding of the twelve pitches, and the result revealed that he correctly identified two pitches, made errors with four, and was entirely unaware of six others, so Yan Xuan was dismissed. Since then, no one has been able to accurately tune the strings using the correct method. During the Xiping period, the Eastern Observers summoned Zhang Guang, the Prince's Attendant responsible for pitch, to inquire about the correct method's usage, but they still could not ascertain the tension of the strings. This resulted in the disappearance of those in the Historiographer's office who could distinguish pitch purity. Only the primary constants and knowledge of seasonal airs have been passed down. Given these circumstances, it is evident that Jing Fang's method of pitch had been lost by the Han Dynasty. Shen Yue said in the "Book of Song, Music" that after carefully studying the ancient classics and present-day pitch experts, the sixty pitches are not utilized in music whatsoever. The "Book of Rites" says, "the twelve pipes mutually serve as the palace," without any mention of the sixty pitches. The "Fengshan Sacrificial Ode" states, "The Great Emperor had the fair maidens play a fifty-stringed se and weep, and then broke it into a twenty-five-stringed se." Even if the sixty pitches could be applied in music, they would still be unnecessary. This aligns with the principle that "great music should be simple, and great rites should be straightforward."
Alright, let's keep discussing this. You see, the "Book of Rites" states that: "The Grand Musician is responsible for setting the standards for music." Zheng Xuan comments that "jun" refers to the pitch. The "Three Rites and the Meaning of Ancestral Worship" also states: "In the 'Book of Rites', when playing the Huangzhong, it uses Huangzhong as the pitch; when singing Daliu, it uses Daliu as the pitch. Playing refers to the instruments suspended in the hall, while singing refers to the performances taking place there. During a ritual activity, two pitches are used." Thus, setting the pitch according to the palace pitch conveys the same meaning. In the Ming Dynasty, the six pitches and six 'lu' take turns as the palace pitch, each having its distinct tone. However, contemporary music uses Huangzhong as the palace pitch but adopts Linzhong as the tone, which contradicts the ancient texts.
During the Jin Dynasty, the Imperial Librarian Xun Xu, according to the records, used the method of rotating the palace pitch with the five-tone scale and twelve pitches to create twelve bamboo flutes. The Huangzhong flute, the main tone is Huangzhong, the subdominant is Linzhong, and the leading note is Guxi. The Daliu flute, the main tone is Daliu, the subdominant is Yize. Other pitches are also set in this way. But now, the Linzhong used is the subdominant pitch as mentioned by Xun Xu. Using the subdominant first instead of the correct pitch doesn't make sense, so this needs to be revised.
The Emperor thought this explanation was very reasonable, so he instructed Yang Hong to collaborate with Yao Cha, Xu Shanxin, He Tuo, and Yu Shiji to compile the new music regulations, which are documented in the "Record of Music Theory." Later, when the construction of the Mingtang became necessary, the Emperor requested Yang Hong to draft a report evaluating the pros and cons of constructing the Mingtang, which is documented in the "Record of Rites." The Emperor held him in great esteem.
At that time, Yang Su, relying on his talent and noble status, held the ministers in the court in disdain. Only when he saw Yang Hong did he conduct himself properly. Yang Su was going to lead troops to fight against the Turks, so he went to the Taichang Temple to bid farewell to Yang Hong. When Yang Hong reached the middle gate, Yang Su said to him, "I, as a grand general, am going on a campaign. I came here specifically to bid you farewell. Why did you come so close to see me off?" Yang Hong simply bowed and stepped back. Yang Su smiled and said, "Qizhang Gong, his intelligence is attainable, but his foolishness is not." He didn’t pay it any mind.
Yang Hong was initially appointed as the Grand General and later became the Minister of Personnel. At that time, Emperor Gaozu asked Yang Hong, along with Yang Su, Su Wei, Xue Daoheng, Xu Shanxin, Yu Shiji, and Cui Zifa, to gather a number of Confucian scholars to discuss the hierarchy and significance of the new rites. Everyone wholeheartedly agreed with Yang Hong's suggestions.
In the second year of Renshou, the Empress passed away, and from the Three Dukes down to the lower officials, no one could determine the funeral rites. Yang Su said to Yang Hong, "You are a senior, and now everyone admires your knowledge. Today, we rely on you for this matter!" Yang Hong readily accepted and quickly drafted the funeral rites, each backed by reasoning. Yang Su exclaimed, "The rituals and music are all here, beyond my capabilities!" Yang Hong found that there were no clear rules to refer to regarding the hierarchy and importance of the Xiangdan (the sacrificial ceremony) during the three-year mourning period, and the duration of wearing mourning clothes afterward. He reported this to Emperor Gaozu, who accepted his recommendations. Later, a decree was issued abolishing the practice of wearing mourning clothes after the mourning period, which all began with Yang Hong.
During his time working in the Ministry of Personnel, Yang Hong always prioritized integrity when selecting talents, before considering their abilities and knowledge. He was extremely careful and meticulous in his work. Although this sometimes caused delays, most of the people he promoted performed their duties competently. The Deputy Minister of Personnel, Gao Xiaoji, was known for his integrity and prudence, nearly beyond reproach. However, his personality was more cheerful and somewhat lighthearted, leading many officials of the time to view him with suspicion. Only Yang Hong recognized his true talents and abilities, and trusted him greatly. Yang Hong made significant contributions to the Sui Dynasty's official selection system, and people at the time admired his insight and knowledge.
When Yang Guang was still the Crown Prince, he often exchanged poems with Yu Shiji. After Yang Guang became emperor, he specifically gifted poems to Yu Shiji, in which he wrote: "The Jin family's mountainous Ministry of Personnel, the Wei family's Minister Lu, let us not dwell on the differences among ancient sages, talents are all my assistants. Studying and acting in accordance with the times, the Way is pure and transcendent, accepting words in the Cloud Pavilion, etiquette and imperial fortune are just beginning. The Yi family is joyfully recounted, the reign is one of tranquility." At the time, many people were gifted poems, but no one received higher praise for their poetry than Yu Shiji.
In the second year of the Daye era, Yu Shiji was promoted to Grand General. In the third year, he was appointed as the Right Guanglu Daifu. He accompanied the emperor to sacrifice at Mount Heng, and all the sacrificial vessels, offerings, and livestock were arranged by Yu Shiji. On the way back from Mount Heng, passing through the Taihang Mountains, Yang Guang brought him into the imperial tent, where he dined and drank with the empress. The emperor's treatment of him was extraordinarily gracious. Yu Shiji told his sons: "The favor I have received is very special, the emperor's kindness is very deep. You and your descendants must embody sincerity and respect in your lives to repay the emperor's great favor."
In the sixth year of the Daye era, Yu Shiji followed Yang Guang to Jiangdu. In November of that year, Yu Shiji passed away in Jiangdu at the age of sixty-six. Yang Guang was deeply saddened, posthumously granting him many honors. He was buried back in his hometown of Anding, posthumously granted the title of Marquis of Wen'an and given the posthumous name "Xian."
Yu Shiji was held in high regard throughout his life, but he dressed very simply and humbly, showing great respect for the emperor, being kind and approachable to his subordinates, speaking little yet being highly efficient in his work. Once, the emperor asked him to read an imperial edict, but when Yu Shiji reached the steps, he couldn't recall what to say, so he returned to apologize to the emperor, saying, "I have forgotten everything." The emperor replied, "Announcing an imperial edict requires eloquence, so it is not the duty of a prime minister." The emperor instead admired his honesty even more. During the Daye period, the emperor's trust in him deepened. Yu Shiji was known for his generosity and dedication to learning, always studying diligently even when busy with official duties. Among the former officials of the Sui Dynasty, he was the only one who never regretted or felt remorse—only Yu Shiji.
He had a younger brother named Yu Bi, who had a penchant for alcohol and often got drunk. One time, Yu Bi got drunk and actually shot and killed the ox that was pulling Yu Shiji's family cart. When Yu Shiji returned home, his wife greeted him and said, "Your brother shot and killed the ox!" Yu Shiji, without showing any anger or asking questions, calmly replied, "Let's turn it into beef jerky." Sitting down, his wife said again, "Your brother actually shot and killed the ox, this is a big deal!" Yu Shiji replied, "I already know." His face remained calm and unchanged, continuing to read, unaffected. This exemplified his generosity and gentleness. He left behind a thirteen-volume collection of writings for future generations.
The eldest is called Fang Da, also a scholar, who held the position of Neishi Sheren. The second is called Fang Yu, a ruthless character with little sense of compassion. He accompanied the emperor to Jiangdu and conspired with Pei Qian and others to rebel. For more details, see "The Biography of Sima Dekan." Historical records describe Niu Hong as follows: Niu Hong had a particular passion for studying classical texts, was knowledgeable, conducted himself with elegance as an official, and possessed a broad-minded approach. He developed a comprehensive strategy for governing the nation, surpassing even Shusun Tong of the Han Dynasty. He served in important positions in the court for more than thirty years, facing various challenges and changes, staying true to his principles throughout. While he wasn't particularly adept at starting or managing enterprises, he was honest and incorruptible, never stooped to corrupt practices. He was truly a man of great integrity! Unfortunately, his son lacked ambition, failed to uphold the family legacy, but instead committed serious crimes that brought shame upon the family. This is truly a pity!
