Xu Zhicang was from Gaoyang. He was filial since childhood. Because his mother fell ill, he began studying medicine. Later, he became extremely skilled in medicine and was known as a famous physician. He advised his sons, "If a son cannot understand food, medicine, and medical principles, how can he be considered filial?" So his medical skills were passed down through generations. He later served as a minister in the Liang Dynasty, eventually becoming a Minister of the Imperial Court. His father, Xu Jing, was a military advisor for the Prince of Wuling. Xu Zhicang became well-known for his medical skills at a young age and served as a Minister of the Imperial Court in the Chen Dynasty. After the fall of the Chen Dynasty, Emperor Gaozu of the Sui Dynasty appointed him as a Minister of the Imperial Court and sent him to Yangzhou.
At the time, Prince Xiao of Qin, Yang Jun, fell ill, and the emperor sent for him in haste. Yang Jun dreamt one night that his deceased wife, Cui Shi, was crying and saying, "I was meant to come for you, but I heard that Xu Zhicang is coming. If he comes, he will surely cause you great pain. What should we do?" The next night, Yang Jun dreamt again of Cui Shi saying, "I have come up with a plan. I plan to hide in the underworld to escape him." When Xu Zhicang arrived, he examined Yang Jun's pulse and said, "The illness has already reached your heart and will soon take a turn for the worse." Sure enough, Yang Jun passed away a few days later. The emperor was astonished by his miraculous healing abilities and rewarded him with one hundred rolls of silk. After Emperor Yang of Sui ascended the throne, Xu Zhicang had already retired at home. Whenever the emperor fell sick, eunuchs were sent to consult him, sometimes even bringing him into the palace and assisting him to the imperial bed. Xu Zhicang's prescriptions were always effective, curing every ailment. He passed away peacefully at home at the age of eighty.
Xu Cheng, Xu Zhizang's clansman, was also famous for his medical skills. His father, Xu Shi, served as the Minister of Ceremonies and the Chief of the Central Army in the Liang Dynasty. After following Liu Zhongli to Chang'an, he was renowned alongside Yao Sengyuan and was appointed as the Grand Master of the Three Excellencies. Xu Cheng was very knowledgeable, inheriting his father's expertise, and excelled in the field of medicine. He successively held positions as the Imperial Pharmacist and the Grand Counselor, and was made Count of Hechuan. Both father and son were renowned for their superb medical skills during the Zhou and Sui Dynasties. This story is briefly recorded in historical records, so some additional explanations are provided here.
Wan Baochang, whose origins are unknown, was the son of Da Tong, who had surrendered to the Qi Dynasty along with General Wang Lin of the Liang Dynasty. Later, he conspired to return to Jiangnan, but his plan was exposed and he was executed. Wan Baochang was then conscripted into service as a musician, and he became proficient in musical theory and skilled in various musical instruments. He created jade chimes for the Emperor of the Qi Dynasty. On another occasion, during a meal with others, they discussed musical tones. In the absence of musical instruments, Wan Baochang picked up utensils and miscellaneous items in front of him, used chopsticks to strike them, distinguishing their high and low tones, and successfully replicated the five notes of the pentatonic scale. It sounded harmonious and pleasing, like silk and bamboo instruments, and was greatly admired by those who were there. However, despite his talents, Wan Baochang never gained significant recognition during the Zhou and Sui Dynasties.
In the early years of the Kaihuang period, Duke Zheng Yi of Pei and his colleagues established new musical regulations, initially adopting the Huangzhong tuning. Despite being a musician, Wan Baochang's advice was often sought by Zheng Yi and his colleagues, yet many of his suggestions went unheeded. Eventually, Zheng Yi completed the music regulations and presented them to the emperor. The emperor summoned Wan Baochang and asked him for his opinion. Wan Baochang said, "This is the music of a fallen kingdom; how could I let Your Majesty hear it?" The emperor was not pleased. Wan Baochang strongly argued that the music sounded sorrowful and debauched, lacking the orthodox refinement, and requested to use a standard measure to establish the pitch in order to adjust the musical instruments. The emperor agreed. Wan Baochang was then ordered to make various musical instruments, with a pitch two tones lower than Zheng Yi's. He also authored a 64-volume "Music Scores," detailing how the eight sounds could create the palace mode, along with the variations in string and pillar adjustments. He created 84 modes, 144 pitches, and a total of 1,800 sound combinations. At the time, it was believed that the "Rites of Zhou" contained a theory of revolving palaces, but since the Han and Wei dynasties, those knowledgeable in music theory had struggled to understand it. When they saw that Wan Baochang had independently developed this, they all ridiculed him.
By this time, when people asked him to play, he could immediately play music without missing a beat, and everyone who saw it was very surprised. So he improved and modified instruments countless times; his musical style was elegant and unpretentious, but it wasn't appreciated by his contemporaries, and those skilled in music at the Tai Temple ostracized him. There was also the Prince's horsekeeper Su Kui, who prided himself on his musical expertise and was especially jealous of Wan Baochang. Su Kui's father, Su Wei, was in power at the time, and everyone discussing music gravitated towards him, diminishing Wan Baochang's reputation. Wan Baochang visited the court ministers many times to complain about the injustice, and Su Wei questioned Wan Baochang, asking where he had learned it from. A monk advised Wan Baochang, "The Emperor likes auspicious signs; as long as someone says it is a good omen, the Emperor will be happy. You should say you learned it from the barbarian monks, and that it is the musical theory passed down by the Buddha. The Emperor will definitely be pleased. Your work can be put into practice." Wan Baochang followed his advice and answered Su Wei as the monk had said. Su Wei angrily said, "The music passed down by the barbarian monks is the music of the foreigners, not what should be played in China!" This issue ultimately went unresolved.
Wan Baochang once listened to music played in the Tai Temple and couldn't help but cry. When asked why, Wan Baochang said, "This music is licentious, wanton, and sad. The world is on the brink of mutual destruction." At that time, the world was in a period of peace and prosperity, and those who heard his words found it hard to believe. By the end of the Daye era, his words were finally fulfilled.
Baochang was very poor and had no children. When his wife found him bedridden, she secretly took all his money and belongings and fled. Baochang was hungry and cold, with no one to care for him, and he ultimately succumbed to starvation. Before he died, he burned the books he had written, saying, "What good are these things?" Some books were rescued from the fire and circulated, and people mourned his passing.
During the Kaihuang era, Zheng Yi, He Tuo, Lu Ben, Su Kui, and Xiao Ji all studied classics and compiled music books together. Their works were widely used at that time. However, in terms of natural talent for music, they were no match for Bao Chang. An Maju, Cao Miaoda, Wang Changtong, and Guo Lingle were skilled composers and top musicians at the time. They also studied Zheng music, but Bao Chang's compositions were considered to be elegant music. Although these people did not openly praise Bao Chang, they all admired him in their hearts and thought of him as a god.
There was a musician named Wang Lingyan at the time, who was also well-versed in music theory. During the Daye period of Emperor Yang of Sui, when he was planning to visit Jiangdu, Wang Lingyan's son followed him. While playing the Hu pipa outside the door, he performed a rendition of "An Gongzi Qu." When Wang Lingyan heard this piece inside the house, he was startled and jumped to his feet, saying, "This is trouble, this is trouble!" He quickly asked his son, "When did this piece become popular?" His son replied, "It just recently became popular." Wang Lingyan started crying and told his son, "You must not go with him; the emperor will definitely not come back." When his son inquired why, Wang Lingyan said, "The palace tone in this piece signifies a one-way journey, and the palace represents the monarch, that's why I'm saying this." Later, Emperor Yang of Sui was indeed assassinated in Jiangdu.
In historical records, it is said that even the sages have teachings regarding yin and yang divination, though it should neither be fully accepted nor entirely dismissed. If one can uphold the right path, they can bring benefits to society; if their actions do not conform to morality, they will receive retribution. Therefore, ancient gentlemen were very cautious and did not dare to act recklessly. Now, the bone and face readings of Wei and Lai, the divination practices of Yu and Zhang, even when compared to figures like Luo Xia, Gaotang, Xu Fu, and Zhu Jian, they fall short. Bo Chou's turtle divination can predict divine matters; Geng Xun's astrolabe can precisely measure the movements of celestial bodies; Bao Chang's musical theory can accurately grasp the harmony of the pentatonic scale. While they may not match the great masters of antiquity, they are also outstanding in their time. Xu family's acupuncture, as noted in historical texts, is commendable; Xiao Ji's discourse on yin and yang tends to be somewhat overstated.
