Wan Baochang, his origins are unknown. His father is named Datong, who surrendered to the Qi Dynasty with the general Wang Lin of the Liang Dynasty. Later, he tried to secretly return to Jiangnan, but his plan was exposed and he was killed. As a result, Wan Baochang was relegated to the status of a musician. He was particularly adept in music theory and skilled with various musical instruments. He made a set of jade chimes to present to the Emperor of the Qi Dynasty.
One time, while dining with others, the conversation shifted to musical tones. Since there were no musical instruments available, Wan Baochang picked up bowls, chopsticks, and other miscellaneous items, struck them with his chopsticks, imitated various pitches, and covered all the notes of the pentatonic scale, producing sounds as harmonious as genuine silk and bamboo instruments. People at that time greatly admired his talent. Despite his talents, he remained unrecognized from the Zhou to the Sui Dynasties.
During the Kaihuang era of the Sui Dynasty, Duke Zheng Yi of Pei and his colleagues were tasked with establishing new musical scales, starting with the Huangzhong mode. Although Wan Baochang was a musician, Zheng Yi and his team often consulted him, but many of his suggestions went unheeded. Later, when Zheng Yi's music scales were completed and played for the Emperor, the Emperor summoned Wan Baochang and inquired whether it sounded pleasing. Wan Baochang said, "This music represents the lament of a fallen nation; Your Majesty should refrain from listening to it!" The Emperor was very displeased. Wan Baochang then explained in detail that this music was sorrowful and dissolute, not orthodox court music, and requested that the instruments be calibrated using standard measurements. The Emperor agreed.
Wan Baochang was ordered to make various musical instruments, with pitches two scales lower than those established by Zheng Yi. He also wrote a 64-volume "Music Score," detailing the method by which octaves create the court music, as well as the techniques for changing string instruments and moving the qin strings. He created 84 modes, 144 scales, and a total of 1,800 different sound effects through various combinations. Contemporaries believed that the theory of cyclical court music documented in the "Zhou Li" was beyond their understanding. When they witnessed Wan Baochang devising this method, they considered it laughable.
When it came to performing, he could create various music effortlessly, leaving everyone astonished. He improved and added instruments, with so many that they were beyond counting. His music style was elegant and unpretentious, but not popular at that time. He was ostracized by the musicians at Taichang Temple. The prince's horsekeeper, Su Kui, boasted of his mastery of music theory and envied Wan Baochang, who was looked down upon by everyone because of Su Wei's influence. Wan Baochang repeatedly voiced his grievances to court officials. Su Wei questioned where he had learned his music theory. A monk advised Wan Baochang to claim he had learned it from a foreign monk, saying it was a musical tradition passed down from the Buddha. Wan Baochang took the monk's advice, which only angered Su Wei. One time, after hearing music at Taichang Temple, Wan Baochang was moved to tears, foreseeing the impending chaos and downfall of the world—a prediction that ultimately came true during the late Sui Dynasty. Wan Baochang, poor and childless, was deserted by his wife when he fell ill, leaving him to perish from hunger and cold. Before he died, he burned his writings, questioning their worth. A few of his books were salvaged from the fire and later circulated, drawing lamentations from people who mourned his tragic fate.
During the Kaihuang era, Zheng Yi, He Tuo, Lu Ben, Su Kui, and Xiao Ji collaborated on studying classical texts and composing music scores. Their works were widely used at that time. However, when it came to natural musical talent, they couldn't compare to Bao Chang. An Maju, Cao Miaoda, Wang Changtong, Guo Lingle, and others were all proficient composers of that era, and they also studied Zheng Sheng, but Bao Chang's compositions were considered part of the refined music genre. Though they didn’t openly commend Bao Chang, they all held him in high regard, thinking of him as a god-like figure.
At that time, a musician named Wang Lingyan was also well-versed in music theory. During the Daye reign of Emperor Yang of Sui, he traveled to Jiangdu for leisure, and Wang Lingyan's son followed him. One day, Wang Lingyan's son played the Hu pipa outside the palace gate, performing a piece titled "An Gongzi Qu" with a variation in melody. Upon hearing the piece, he was taken aback and leapt up, shouting, "This is bad, this is bad!" He quickly summoned his son and asked, "When did this piece start gaining popularity?" His son replied, "It's only recently." Wang Lingyan began to weep and said to his son, "You must not accompany them anymore; the emperor is surely not coming back." When his son inquired why, Wang Lingyan explained, "The tonal structure of this piece is irreversible, and the palace represents the monarch, so this is my judgment." Eventually, Emperor Yang of Sui was indeed assassinated in Jiangdu.
In historical records, it is said that even sages have teachings on the divination of yin and yang, though it should neither be fully believed nor entirely dismissed. If a person can uphold the right path, they can benefit society; if their actions do not conform to morality, they will reap what they sow. Therefore, ancient scholars advised against acting recklessly. Currently, the physiognomy analyses by Wei and Lai, and the fortune-telling by Yu and Zhang, while they may not match the great masters of antiquity, can still be regarded as notable figures of their time. Bo Chou's turtle divination can provide a general insight into the intentions of deities and spirits; Geng Xun's celestial device can precisely measure the positions of celestial bodies; Bao Chang's musical theory can accurately capture the harmony of musical modes. Although they may not match the great masters of antiquity, they can still be considered skilled individuals of their time. The Xu family's acupuncture techniques, as noted in historical texts, are commendable; Xiao Ji's interpretations of yin and yang are somewhat fanciful.
