Fragrant Flowers Bloom. T. C. Chao, Bliss Wiant and The

ContactZone. Explorations in Intercultural Theology Ruiwen Chen

The term ContactZone was coined in postcolonial discourse to sig- nify the place where cultures and religions meet. It implies that first contact, cultural-religious exchange and conflict have always been determined by power-relations. Making use of communication the- Fragrant Flowers Bloom ories, hermeneutics and aesthetics intercultural theology generates new terminologies and theoretical tools to explore these interac- T. C. Chao, Bliss Wiant and the Contextualization of Hymns tions. Its scope ranges from issues such as dialogue and syncretism in Twentieth Century China to fundamentalism and ethnicity. Perspectives of culture, religion, F

race, class, gender and inclusion alike are involved in the necessary Bloom ragrant Flowers multi-axial approach. ContactZone creates a space where a choir of multiple voices is responding to the challenges of cultural religious pluralism, rethinking theology in the 21st century. Ruiwen Chen Ruiwen

CHEN Ruiwen (*1984) investigates the contextualization of Chinese hymns through the creative collaboration between T. C. Chao (1888– 1979), perhaps China’s greatest twentieth century theologian, and Bliss Wiant (1895–1975), an American missionary and musicologist, in the 1920s and 1930s. Their creative interpretations of hymn translations, hymn writing, and music are explored through two hymnals produced by Chao and Wiant, Christian Fellowship Hymns and Hymns for the People (both 1931). They have made a lasting and unique contribution to Chinese hymnody, an important but so far neglected

area in the study of the history of Christianity and contextual theol- Zone ogy in China. Contact

ISBN 978-3-374-04073-5

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ContactZone_17-Umschlag.indd 1 15.10.15 14:23 Ruiwen Chen Fragrant Flowers Bloom ContactZone Explorations in Intercultural Theology edited by

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Volume 17

Editorial Advisory Board: Prof. Dr. Tinyiko Malueke, University of Pretoria Prof. Dr. Philip Wickeri, GTU, Berkeley, CA and HKSKH, Hong Kong Ruiwen Chen Fragrant Flowers Bloom T. C. Chao, Bliss Wiant and the Contextualization of Hymns in Twentieth Century China

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ISBN 978-3-374-04073-5 www.eva-leipzig.de Contents

Acknowledgements 7

Introduction 11 Chapter One Prelude: The Contextualization of Chinese Hymnody in the 19th and Early 20th centuries 1. The Promotion of the Contextualization of Chinese Hymnody in the 19th Century by Western Missionaries 31 2. The Rise of the Contextualized Hymns by Chinese Themselves in the Early 20th Century 44 3. The Reflection and Debate on the Texts and Music for Chinese Contextualized Hymns in the Mid-1930s 48 Chapter Two Variation on a Theme: T. C. Chao’s Contextualized Translation of the Texts of Christian Fellowship Hymns (團契聖歌集, 1931) 1. The Origin and Writing of Christian Fellowship Hymns 61 2. T. C. Chao’s View of and Methods for Hymn Translation 71 3. T. C. Chao’s Contextualized Hymnological Translation for the Trinity 79 4. T. C. Chao’s Contextualized Translation for Christian Fellowship Hymns 99 Chapter Three Hymn Writing and Contextual Theology: T. C. Chao’s

6 Contents

Duet in Composing the Lyrics in Hymns for the People (民眾聖歌集, 1931) 1. The Origin and the Writing of Hymns for the People 109 2. Text of Hymns for the People and Chao’s Early Theological Thought on Holy Trinity 114 3. T. C. Chao’s Ten Principles for Hymn Writing and their Relationship to his Theological Thought 128 4. Dialogue between the Texts of Hymns for the People and the Contextualization of Chinese Hymnology 143 Chapter Four “Using Old Chinese Tunes as New Music for the Present”: Hymns for the People and Contextualized Music for Chinese Hymns in the 1930s 1. “This is the Ambition of My Life”: Bliss Wiant and His Indissoluble Bond with Chinese Sacred Music 151 2. Bliss Wiant’s Research on Chinese Music Compared with that of Other Western Missionaries 160 3. “A New Song for China”: The Contextualized Music in Hymns for the People 172 4. A “Paradox”: A New Insight for the Music Preaching Strategy in the Chinese Christian Movement 190 Chapter Five Cadenzas: Towards Chinese Contextualized Hymnody in the 1930s: Influences and Comparisons 1. The Two Chao/Wiant Hymnals and their Influences on Hymns of Universal Praise (1936) 197 2. Brief Comparisons with Hymns of Other Indigenous/ Independent Churches in the 1930s 214 3. Glocalization: A Perspective for the Investigation of Contextualized Hymns in the 1920s and 1930s 221

Conclusion 227

Bibliography 241 Curriculum Vitae 274 Acknowledgements

This book began as my doctoral dissertation from the Department of Cultural and Religious Studies at the Chinese University of Hong Kong. My degree was awarded in December, 2014, but the seed of my interest in the history of Christianity and in music was sown much earlier. I studied history at Shanghai University, where I received my B. A. (2007) and M. A. (2010). My supervisor in Shanghai was Prof. Tao Feiya (陶飛亞), with whom I began to study the history of Chinese Christianity in 2006. I am deeply indebted to him, for he encouraged me to express myself through academic research and his positive attitude towards life. My doctoral dissertation was supervised by Prof. Ying Fuk-tsang (邢福增), who is now Director of the Divinity School at Chung Chi Col- lege, the Chinese University of Hong Kong. During my three and a half years of study, he guided and encouraged me in my work and I was inspired by his pure and diligent attitude towards academic research. I would also like to thank all who taught me at the Chinese Univer- sity, especially Prof. Lai Chi Tim (黎志添), Prof. Angela Wai-ching Wong (黃慧貞), Prof. Archie Chi-chung Lee (李熾昌), Prof. Lai Tsz Pang John (黎子鵬), Prof. Francis Yip (葉菁華), Prof. Lai Pan Chiu (賴品超), Prof. Yeung Kwok Keung (楊國強), Prof. Loh I-to (駱維道) for their careful guidance and continuous support. Prof. Peter Chen-Main Wang (王成勉) of the Graduate Institute of History, National Central Univer- sity, Taiwan was the external examiner of my dissertation. I am especially grateful for his meticulous reading of my dissertation, and his useful comments. Prof. Gary Tiedemann has also given me much help and support in my studies. Prof. Philip L. Wickeri, advisor to the Archbishop on Theological and Historical Studies and with whom I now work, has been a continuous source of inspiration and support. He has helped me to combine and

8 Acknowledgements transform my two-fold spiritual levels of going into the world and trans- cending the world through academic thinking and the mysteries of faith. He has guided me in the pursuit of four aspects of my life: academic research, artistry, spirituality and beauty. Archbishop Paul Kwong (鄺保羅) and the Hong Kong Sheng Kung Hui where I am now employed have been supportive of me in so many ways over the past year. I am deeply grateful for their kindness. This book would not have been possible without the resources of the Chinese University Library; the Chung Chi Library, Special Collec- tions and Archives; Hong Kong Baptist University; the Shanghai Mu- nicipal Archives; the Shanghai Library; and the Library of University of Music and Performing Arts Vienna, Austria. I would like to thank the staff of these institutions for their helpfulness and guidance. Prof. Volker Küster of the Theology Department of Johannes-Gu- tenberg University, Mainz, Germany, in addition to making excellent suggestions, encouraged me to submit this book for publication and helped me secure the needed support to make the book possible. I would also like to thank his assistant Ms. Susanne Patock for all her help in layout and design. I am grateful to Stichting de Zending der Protestantse Kerk in Ne- derland (Locherfonds) for their generous grant that has made possible the publication of this book. My friends Beilei Hu (胡蓓蕾), Xueying Ni (倪雪映), Shuyin Lai (黎舒妍) have always been a steady source of encouragement and Chris- tian friendship. I also want to thank my piano teacher Prof. Ouyang Wen (歐陽文) who instilled in me a love for music and a commitment to the Church for more than 20 years. Last but not least, I wish to express my deep gratitude to my par- ents, for their continuing nurture and support. They have helped me to become the person I was meant to be. There is a line of poetry from The Peony Pavilion (牡丹亭):

不到園林, 怎知春色如許? If you didn't come to the garden, how can you experience the fragrance of Spring?

I would never have found the consistency of my life and of God’s grace through what I am doing and what I have done, and never would have seen the fragrant flowers bloom if I had not wandered in the garden of Fragrant Flowers Bloom 9 the history in Christianity in China. The people mentioned here have all helped me on this path.

Ruiwen Chen (陳睿文) Hong Kong July 2015

Introduction

T. C Chao (趙紫宸, Zhao Zichen, 1888-1979) met Bliss Mitchell Wiant (范天祥, 1895-1975) on the campus of Yenching University shortly after the Wiant's arrival in Peking in 1923 as missionaries of the (American) Methodist Episcopal Church. That was the beginning of a memorable friendship. Wiant had come to help set up the university’s Department of Music. Chao moved to the Yenching School of Religion in 1926, and he became Dean in 1928. Before that, he “had a solid classical education that later enriched his prose and his thought. He attended the pre- paratory middle school and then Soochow University, a missionary in- stitution, graduating about 1911” He “went to the United States in 1914 and received M. A. and B. D. degrees at Vanderbilt University, then returned to Soochow University in 1917 as a professor, becoming dean in 1922.”1 Wiant was interested in helping to develop a contextualized Chinese hymnology and in Chao he met a kindred spirit. In 1925, Chao suggested that they work together on a new hymnal. Chao loved hymns, but he did not know music. Wiant loved music, but he was only beginning to learn Chinese. They began to work together on Christian Fel- lowship Hymns (團契聖歌集, 1931), a collection of well-known Western hymns translated by Chao and arranged by Wiant, to be used in the Yenching Christian Fellowship. At the same time, they worked together on Hymns for the People (民眾聖歌集, 1931), hymns composed in Chi- nese and set to contextualized music by Wiant. Both hymnals sold out within a few months and went through several editions. Their collaboration in writing these two hymnals, and their efforts on the contextualization of Chinese hymnology, is at the heart of this book. There is also a brief comparison with some other hymnals of the time to explore the Protestant quest for the contextualization of Chinese hymnology in the first part of 20th century.

1 Biographical Dictionary of Christian Missions, Gerald H. Anderson (ed.), Grand Rapids, Michigan and Cambridge, UK 1998, 126.

12 Introduction

The Problem and the Scope of the Study The contextualization of Chinese Christian hymns, both music and texts, is becoming an important area in the study of Chinese Christian music. However, compared with the investigation of the development of Chinese hymnology with a panoramically historical view, or with the theoretical exploration of the relationship between contextualized Christian music in the context of church worship and church music services, relatively little attention has been paid to the concrete interpretation of Chinese hymnals in terms of translation, hymn writing as well as music produced in a particular time by Chinese Christians and missionary collaborators. Western Protestant missionaries came to China in the early 19th century. Within a short period of time, they began to work on the promotion of the contextualization of Christian music as one of their methods for propagating Christianity in China. This was what I call their music preaching strategy. The missionaries used such methods as compiling translated hymnals and composing new hymns with Chinese tunes in the process of their work. However, not until the early 20th century did Chinese Christians themselves begin to realize the importance of the development of Chinese Christian music. The publication of Hymns of Universal Praise (普天頌讚) in 1936 may be regarded as the culmination of their continuous efforts on hymn translation, hymn writing and music. In this book, our focus is on the first four dec- ades of the 20th century, and particularly the 1920s and 1930s. We will see that there was a long search for and deep thinking about what Chi- nese contextualized hymns should be in the period leading up to the publication of Hymns of Universal Praise. During this time, some hymnals, both translations and original compositions, were produced by Chinese Christian intellectuals, including the theologian T. C. Chao. The efforts by hymn writers and translators before 1936 not only offered a theoretical and practical basis for the composition of Chinese contextualized hymns after the mid-1930s; they also directly influenced the direction for the development and expansion of Chinese contextualized hymns in the mainline churches, specifically with the publication of Hymns of Universal Praise. Thus, it is necessary to investigate hymns produced before 1936, to clarify the process of the development of Chinese contextualized hymns, especially the late 1920s and the early and middle 1930s, and to understand how the contextualization of Chinese hymns was related to the individuals who produced the hymns and the work of the Chinese church in this important period. Fragrant Flowers Bloom 13

In this book, we will draw on two hymnals Christian Fellowship Hymns and Hymns for the People as the main objects of research. Both hymnals were edited by T. C. Chao and Bliss Wiant during their work in Yenching University. These two hymnals were recognized as “the boldest endeavor yet attempted by anyone to adapt Christianity to Chi- nese life and culture” before the publication of Hymns of Universal Praise.2 Through these two hymnals, we hope to see how the contextualization of Chinese hymnology developed in the late 1920s and early 1930s, from the perspectives of hymn translation, hymn writing, as well as musical composition. While the hymns in Christian Fellowship Hymns were all translated by Chao and aimed at an educated audience, his contributions in Hymns for the People were all original compositions for ordinary Christians in China. In both hymnals, the texts were translated or written by Chao and the music with Chinese elements was edited by Wiant. Their efforts on the two hymnals under consideration can further be seen as contributing to Hymns of Universal Praise, from the perspective of hymn translation, hymn writing and musical composition. It should be noted that Wiant was also one of the editors for Hymns of Universal Praise. The reasons why we choose these two hymnals as main research objects are as follows: We will try to explore Chinese Christians’ thought and practice on hymn translation in the early 1930s through Chao’s translations, to see how Chao uses his contextualized texts to express the meaning that could be accepted and understood by Chinese, and how these translations reflect the situation of Chinese Church and society during that time. At the same time, the theoretical and practical preparation made by his translations will help us to understand the further reflection and practice on contextualized hymn translation that emerged in the middle of 1930s, which influenced the principles and selection of hymn translation for Hymns of Universal Praise. The analysis of the hymn texts of Hymns for the People written by Chao will help us to understand how Chao combines his early theological thought with hymn writing, and how these hymn texts are combined with the daily life of ordinary Chinese Christians. At the same time, the exploration of the influence of these hymns on Hymns of Universal

2 David Sheng, A Study of The Indigenous Elements in Chinese Christian Hymnody, PhD diss., University of Southern California, 1964, 152. 14 Introduction

Praise will help to show the position of this hymnal in the promotion of the contextualization of Chinese hymns in the 1930s. The interpretation of the music in Hymns for the People which was adapted from Chinese folk songs will help us to explore Bliss Wiant’s research on Chinese music from both theoretical and practical perspectives, and to compare the difference and similarity between what previous Western missionaries did and what Wiant did for the contextualization of Chinese hymns. What’s more, since Wiant was also the music editor for Hymns of Universal Praise, research on the music of this hymnal edited by him will give us a picture of how the contextualized music for Chinese hymns was shaped and developed during the 1920s and 1930s. These two hymnals will help us better understand the attitudes of Chinese Christians in mainline churches toward contextualized hymns and how they developed contextualized hymns by themselves. This directly influenced and led to the deeper contextualization of Chinese hymnology in the middle of the 1930s, in response to the situation of Chinese society and church situation at that time. At the same time, the different quest in the early 20th century for the contextualized elements of Chinese hymnology from those of the 19th century are reflected as follows: The case studies on Chinese hymnology in this book reflect the people who promoted the contextualization of Chinese hymnology and the transition from Western Protestant missionaries in the 19th century to Chinese Christians themselves in the 20th century. The case study on Chao’s hymn translation shows his thought on contextualized hymn translation by one Chinese Christian intellectual in a mainline church within the ecumenical tradition. The contextualized terms, the social and church situation inserted in the translation reflect the different contextualized elements shown from those written by Western missionaries in the 19th century. Chao’s hymn writing in Hymns for the People reflects his early theological thought, which helps make his hymn texts contextualized. At the same time, since the editing of this hymnal was a response to the Christian movement to the countryside in the 1930s, the texts of this hymnal show the contextualization from these two perspectives: his own thought and a response to the situation of grassroots Christians. The music of Hymns for the People shows the expansion of the exploration of Chinese music by Wiant compared with what previous Fragrant Flowers Bloom 15

Western missionaries did in the 19th century. It is his careful investigation of folk music where he lived, his familiarity with Chinese music life, and his investigation of Chinese music from the perspectives of nature, Chinese poetry, people’s ordinary life, all of which were neglected by previous missionaries, that forms the contextualized music understood, adapted, and written by Wiant. The contextualized elements in these two hymnals established the foundation for the further reflection and practice of the contextualization of Chinese hymns from hymn translation, hymn writing and music by Chinese Christians, and reached a peak in the publication of Hymns of Universal Praise in 1936. The collaboration between Chao and Wiant is unique in the history of the development of the contextualization of Chinese hymnody, for it shows two dimensions: From the perspective of Chao, it represents an image of Chinese’ awakening and practice on contextualized hymns. Chao translated and wrote hymns by himself, without any significant influence from Western missionaries. Chao was the pre-eminent theologian among the first generation of Chinese Christian intellectuals, and he did not go through any period of “missionary tutelage”. From the perspective of Wiant, it represents a new image of a “music missionary”, from which we can track the previous efforts by Western missionaries. In a sense, Wiant transcendenced his missionary role because of his long and close collaboration with Chao and the influence of Chinese culture and Chinese music, both consciously and unconsciously. Their collaboration, from a vertical perspective, will connect the efforts toward the contextualization of Chinese hymnology before and after the 20th century. From the horizontal perspective, this study will also help us to explore the similarity and difference between hymns in the mainline church and indigenous churches.

Review of Literature Some earlier research has touched on T. C. Chao and Bliss Wiant’s relationship with Chinese hymnody. For example, “The Author of Hymns for the People: T. C. Chao” by Wong Wing Hee introduces Chao’s efforts on hymn translation and hymn writing;3 “T. C. Chao’s Christmas Oratorio” by Liang Maochun and “Review on the Oratorio Christmas Song of T. C. Chao and Zhang Xiaohu” by Cai Liangyu discuss Chao’s

3 Wong, Wing Hee, Minzhong shengshi zuozhe Zhao Zichen boshi [T. C. Chao – The Author of Hymns for the People], in: Jinling shenxuezhi [Nanjing Theological Review] 3, 1996, 17-19. 16 Introduction hymn writing for the Christmas Oratorio.4 “T. C. Chao on the Interac- tion of Christianity and Chinese Culture and its Practice” by Shi Heng- tan, with a short discussion on Chao’s hymns and their integration with Chinese culture.5 Song Yue’s “Hymn Translation in the Early Twenti- eth-Century China” touches on Chao’s hymn translation in the background of the hymn translation in the early 20th century.6 As for the studies of Bliss Wiant, A New Song for China: A Biography of Bliss Wiant edited by his son Allen Artz Wiant, collects most of his father’s diaries which reveal a picture of how Bliss Wiant put himself into the promotion of the contextualization of Chinese sacred music in the 1920s and 1930s.7 “Bliss Wiant and Chinese Hymns” by Chen Wei briefly introduces Wiant and his relationship to the editing of Hymns for the People and Hymns of Universal Praise.8 Also, A Study of The Indigenous Elements in Chinese Christian Hymnody” by David Sheng briefly analyzes the music of the hymns in Hymns for the People.9 These studies all deal with the hymns of Chao and Wiant, but at a rather elementary level. They set the stage for our further research, but don’t deal significantly with the issue of contextualization. Besides the exploration of Chao and Wiant’s relationship with Chi- nese hymnody, earlier studies of Chinese Christian music offer us a broader vision to understand the research on Chinese Christian music, which set the general background of the topic that we will discuss in this book. In general, these can be divided into two kinds, historical and theoretical: (1) Historical Studies of Chinese Christian Music: Quite a number of authors have explored the development of Chi- nese hymnody from an historical perspective. For example, Wang

4 Liang Maochun, Zhao Zichen de shengdanqu [T. C. Chao’s Chrismasoratorio], in: Zhao Zi- chen Wenji [Works of T. C. Chao], Vol: IV, Yanjing Yanjiuyuan [Yenching Academy] (ed.), Beijing 2010, 772f. Cai Liangyu, Ping Zhao Zichen, Zhang Xiaohu de qingchangju ‘shengdanqu’ [Review on the Oratorio Christmas Song of Zhao Zichen and Zhang Xiaohu], in: Zhongguo yinyuexue [Musicology in China] 3, 2010, 29-39. 5 Shi Hengtan, Zhao Zichen lun jidujiao yu zhongguo wenhua zhi huitong ji shijian [T. C. Chao’s Comments on the Communication and Practice between Christianity and Chinese Cul- ture], in: Shijie zongjiao wenhua [The Religious Cultures in the World] 3, 2010, 85f. 6 Song Yue, Hymn Translation in Early Twentieth-Century China, Master of Arts Thesis, Shan- dong University, 2010. 7 Allen Artz Wiant, A New Song for China: A Biography of Bliss Wiant, Victoria, BC 2003. 8 Chen Wei, Fan Tianxiang yu zhongguo shengshi [Bliss Wiant and Chinese hymns], in: Tian Feng [The Magazine of the Protestant Churches in China] 6, 2012, 18f. 9 Sheng, A Study of The Indigenous Elements in Chinese Christian Hymnody. Fragrant Flowers Bloom 17

Shenyin’s essay “The Review of the Development of Chinese Hym- nody” is a relatively early review of Chinese hymnals edited by West- ern Protestant missionaries and Chinese Christians between 1807 and 1936, in which hymnals of both mainline churches and indigenous de- nominations are investigated.10 “A Study of Indigenous Elements in Chinese Christian hymnody” by David Sheng in broad scope introduces indigenous elements in Chinese Christian hymnody. Sheng discusses the influence of Confucianism, Taoism, Buddhism, proverbial and popular savings, festivals, popular customs and nationalism from the so- called “Nestorian” hymns in the Tang Dynasty to Hymns of Universal Praise.11 A History of Chinese Christian Hymnody: From Its Mission- ary origins to Contemporary Indigenous Productions by Fang-Lan Hsieh investigates the historical development of Chinese hymnody from the early 19th century to the late 20th century, “with specialization in the history of Chinese Protestant hymnology produced by foreign missionaries and indigenous Chinese pastors, intellectuals, and hym- nists.”12 Chen Shenqing’s Master’s thesis “The Development of Chris- tian Hymns in China, 1800-1936” considers the relationship among Western Protestant missionaries, Chinese Christians and the editing of

10 Wang Shenyin, Zhongguo zanmeishi fazhan gaishu (shang) [The Review of the Development of Chinese Hymnody (I)], http://wenku.baidu.com/view/5d9a68146c175f0e7cd13718. (accessed February 9, 2015). Wang Shenyin, Zhongguo zanmeishi fazhan gaishu (xia) [The Re- view of the Development of Chinese Hymnody (II)), http://wenku.baidu.com/view/ 5d9a68146c175f0e7cd13718. (accessed February 9, 2015). 11 Sheng, A Study of The Indigenous Elements in Chinese Christian Hymnody. Also, cf. David Sheng, Zhongguo jidujiao shengshishi lunshu (yi) [The Review of the History of Chinese Hym- nody (one)], in: Sacred Music Quarterly 10, 1979, 2-4; id., Zhongguo jidujiao shengshishi lunshu(er) [The Review of the History of Chinese Hymnody (two)], in: Sacred Music Quarterly 1, 1980, 2-4; id., Zhongguo jidujiao shengshishi lunshu (san) [The Review of the History of Chi- nese Hymnody (three)], in: Sacred Music Quarterly 9, 1980, 2-6; id., Zhongguo jidujiao shengshishi lunshu (si) [The Review of the History of Chinese Hymnody (four)], in: Sacred Music Quarterly 3, 1981, 2-4; id., Zhongguo jidujiao shengshishi lunshu (wu) [The Review of the History of Chinese Hymnody (five)], in: Sacred Music Quarterly 10, 1981, 2-4; id., Zhongguo jidujiao shengshishi lunshu (liu) [The Review of the History of Chinese Hymnody (six)], in: Sacred Music Quarterly 3, 1982, 2-4; id., Zhongguo jidujiao shengshishi lunshu (qi) [The Re- view of the History of Chinese Hymnody (seven)], in: Sacred Music Quarterly 3, 1982, 1-3; id., Zhongguo jidujiao shengshishi lunshu (ba) [The Review of the History of Chinese Hym- nody (eight)], in: Sacred Music Quarterly 7, 1983, 1-3; id., Zhongguo jidujiao shengshishi lunshu (jiu) [The Review of the History of Chinese Hymnody (nine)], in: Sacred Music Quarterly 1, 1984, 1-3. 12 Fang-Lan Hsieh, A History of Chinese Christian Hymnody: From Its Missionary Origins to Contemporary Indigenous Productions, Lewiston 2009. Lauren Pfister, Review of A History of Chinese Christian Hymnody: From Its Missionary Origins to Contemporary Indigenous Pro- ductions, by Fang-Lan Hsieh, in: International Bulletin of Missionary Research 4, 2010, 241. 18 Introduction

Protestant hymnals in China from 1807 to 1936.13 These previous research studies have investigated the development of Chinese hymnology through the efforts of Western missionaries and Chinese Christians, and they offer general historical background for this book. However, their general approach is not as focused as the one we shall use in this study. These studies offer a panoramic view, rather than the focused view of this contextualized historical study. Besides these general reviews of the development of Chinese hymnody, individual hymnals have also been subjects for historical study. These include Seng Si Koa: The First Church Hymnbook in Taiwan- Bibliographic Investigation of the Primary Sources by Chiang, Yu- Ring, which introduces the first church hymnbook in Taiwan followed by a careful exploration on the primary sources for each hymn in this hymnal.14 This is not only a study of a hymnal from one particular area, but also a hymnal of one denomination, The Presbyterian Church of Taiwan. “The Emergence of a National Hymnody: The Making of Hymns of Universal Praise (1936)” by Leung Naap-kei Andrew and “A Study of Chinese Protestant Hymnal-Hymns of Universal Praise” by Lin Miao are two studies focusing on the editing and publication of Hymns of Universal Praise.15 Wang Shenyin’s The Story of The New Hymnal attempts to introduce each hymn in the New Hymnal first published in mainland China in 1983.16 The importance of these studies is that they focus on particular hymnals and provide perspectives and methods that for a deeper interpretation of a concrete hymnal with re- spect to both text (lyrics) and music. Also, they provide useful background, and will be helpful for comparative purposes. Scholars have studied the development of Christian music in local areas, especially in Taiwan. For example, An Outline of the History of Taiwan Christian Music by Kuo Nai-Duen, explores the development

13 Chen Shenqing, The Development of Christian Hymnody in China (1800-1936), Master of Divinity Thesis, The Chinese University of Hong Kong, 1986. 14 Chiang, Yu-Ring, Shengshige: Taiwan diyiben jiaohui shengshi de lishi suoyuan [Seng Si Koa: The First Church Hymnbook in Taiwan, Bibliography Investigation of the Primary Source], Taipei 2004. 15 Naap-kei Andrew Leung, The Emergence of a National Hymnody: The Making of ‘Hymns of Universal Praise’ (1936), Master of History Thesis, The Chinese University of Hong Kong, 2007. Lin Miao, Zhongguo xinjiao zanmeishiji-putian songzn zhi yanjiu [A Study of Chinese Protestant Hymnal-Hymns of Universal Praise], PhD diss., China National Academy of Arts, 2009. 16 Wang Shenyin, Zanmeishi xinbian shihua [The Story of The New Hymnal], Shanghai 1994. Fragrant Flowers Bloom 19 of indigenous Christian music in Taiwan.17 Also, “The Research on the Indigenization of Taiwan Christian Music and the Cognition of Chris- tians” by Xie Xiangyong analyzes Christians’ understanding of the indigenization in that particular context.18 There have been few in-depth studies of indigenous or contextualized Christian music from other Chi- nese provinces and territories. However, the above research shows the perspective of the development of Christian music in local areas, which can inform our own attention to the local situation, particularly in our discussion of Wiant’s choice of music for Chinese hymns. He was mostly familiar with the folk music of Peking and northern China. Christian music in China has also been investigated in the context of Sino-Western cultural exchange from both historical and musicological perspectives. For example, The History of Chinese and Western Ex- change by Fang Hao describes the interaction between Jesuits such as Matteo Ricci (利瑪竇, 1552-1610), Johann Adam Schall von Bell (湯若望, 1591-1666), Jean Basset (白日昇, 1662-1707), Jean-Joseph Marie (錢德明, 1718-1793) and their music activities at the Chinese court in Ming-Qing times. 19 Also, some research and materials touches the background of early contextualization efforts of Chinese hymnody by Wu Li (吳歷, 1632-1718), such as Singing of the Source: Nature and God in the Poetry of the Chinese Painter Wu Li by Jonathan Chaves, Wu Yushan and Catholic Church with Chinese Characteristics and An Annotated Collection of the Writings of Wu Yushan.20 Both The History of Musical Exchange between China and the West and The Musical Ex- change between China and the West in Ming and Qing Dynasties by Tao Yabin investigate the Jesuits and Western Protestant missionaries’

17 Kuo Nai-Duen, Taiwan jidujiao yinyue shigang [An Outline of the History of Taiwan Chris- tian Music], Taipei, 1986. Also, cf. Kuo Nai-Duen, Jidujiao yinyue zai Taiwan zhi yange [The Evolution of Christian Music in Taiwan], Master of Arts Thesis, Chinese Culture University, 1983]; id., Jiaohui yinyue chuchuan Taiwan (1624-1858) [The first introduction of Church music into Taiwan (1624-1858)], in: Sacred Music Quarterly 6, 1984, 2; id., Jiaohui yinyue zai Taiwan zhi yange-jidujiao zaichuan Taiwan [The Evolution of Christian Music in Taiwan-The Second Introduction of Christianity into Taiwan], in: Sacred Music Quarterly 7,1985, 4. 18 Xie Xiangyong, Taiwan jidujiao yinyue bensehua yu xintu renzhi zhi yanjiu [The Research on the Indigenization of Taiwan Christian Music and the Cognition of Christians], Master of Divinity Thesis, Taiwan Baptist Theological Seminary, 2008. 19 Fang Hao, Zhongxi jiaotong shi (xia) [The History of Chinese and Western Exchange II], Shanghai 2008. 20 Jonathan Chaves, Singing of the Source: Nature and God in the Poetry of the Chinese Painter Wu Li, Honolulu, 1993. Zhang Wenqin, Wu Yushan jiqi huahua tianxue [Wu Yushan and Cath- olic Church with Chinese Characteristics], Beijing 2008. Zhang Wenqin (ed.), Wu Li, Wu Yushan ji jian zhu [An Annotated Collection of the Writing of Wu Yushan], Beijing 2007. 20 Introduction contributions to Sino-Western music exchange in Ming and Qing Dyn- asties.21 The Introduction of Chinese Music into France by Chen Yan- xia uses a wealth of historical resources to investigate how Chinese music was introduced into France by Jesuits such as Jean-Joseph Marie.22 A description of music worship in the Taiping Heavenly Kingdom (太平天國) is introduced in The Development of Christian Music by Chen Xiaolu.23 These previous studies reflect how Christian music in China was understood and promoted by the Jesuits in Ming-Qing period. The exploration of the relationship between Western Protestant missionaries and music preaching strategy in modern China has also been a subject of historical research. Some relevant works are “Towards a Chinese Christian Hymnody: Processes of Musical and Cultural Syn- thesis” by Vernon Charter and Jean DeBernard, which explores West- ern protestant missionaries’ efforts in promoting the contextualization of hymns in modern China, “Missionaries, Reformers and the Begin- nings of Western Music in Late Imperial China, 1849-1911” by Gong Hongyu, which focuses on how Western Protestant missionaries and Chinese reformers made use of Western musical culture and how they introduced Western music to Chinese audiences between 1849 and 1911.24 Other research such as “Protestant Missionaries and the Initia- tion of Music Education in Chinese Schools”, “Julia B. Mateer’s Books of Music Theory and their Spread to the East” by Gong Hongyu, “Mu- sic and Mission: Re-interpretation of Post-Colonial Culture Criticism- Centered on The Chinese Recorder”, “A Study of Music Preaching Strategy in Modern China-Centered on The Chinese Recorder” by Chen Ruiwen also interpret this subject from different perspectives.25 All of

21 Tao Yabing, Zhongxi yinyue jiaoliu shigao [The History of Musical Exchange between China and the West], Beijing 1994; id., Mingqing jian de zhongxi yinyue jiaoliu [The Musical Ex- change between China and the West in Ming and Qing Dynasties], Beijing 2001. 22 Chen Yanxia, Huayue xichuan falanxi [The Introduction of Chinese Music into France], Bei- jing 1998. 23 Chen Xiaolu, Jidu zongjiao yinyue fazhanshi [The History of the Development of Christian Music], Beijing 2006. 24 Vernon Charter and Jean DeBernardi, Towards a Chinese Christian Hymnody: Processes of Musical and Cultural Synthesis, in: Asian Music 2, 1998, 83-113. Gong Hongyu, Missionaries, Reformers and the Beginnings of Western Music in Late Imperial China, 1849-1911, PhD diss., Auckland University, 2006. 25 Gong Hongyu, Jidujiao chuanjiaoshi yu zhongguo xuexiao yinyue jiaoyu zhi kaichuang (shang) [Protestant Missionaries and the Initiation of Music Education in Chinese Schools (I)], in: Music Research 1, 2007, 5-17; id., Jidujiao chuanjiaoshi yu zhongguo xuexiao yinyue jiaoyu zhi kaichuang (xia) [Protestant Missionaries and the Initiation of Music Education in Chinese Schools(II)], in: Music Research 2, 2007, 40-46; id., Du Jiade de yuelishu xilie yu xiyang yueli Fragrant Flowers Bloom 21 these studies are concerned with the efforts by Western missionaries for the promotion of Chinese hymnody in modern China. Unlike the general descriptions of what was done in the 19th century, these studies take account of the methods that Western missionaries used to promote the process of contextualization of Chinese hymnody and the development of music itself in modern China. We will go more deeply into this topic in Chapter 1, which is a prelude for our further discussion. What’s more, there has also been research that has touched on the contextualization of Christian music in contemporary China, such as “Glo- calization: The Relationship between Christian Music and Local Soci- ety – A Case Study based on the Christmas Music Worship in Shanghai Community Church”, “Faith, Worship, Music: A Study of Chinese Lo- cal Christian Music Worship” by Chen Ruiwen.26 In these two studies, the indigenous elements of Christian music in the context of worship have been discussed through the composition of hymns, musical forms, and the use of Chinese instruments to show how Christian music has developed in a particular area and a particular church in contemporary China, reflecting the continuous efforts for the contextualization of Christian music in China after 1936. (2) Theoretical Studies of Chinese Christian Music: Some theoretical studies of Chinese Christian music have explored the relationship among music, worship and church services. Perspec- tives on Church Music (I, II, III) by Law Ping-leung, Worship and Mu- sic: Theory and Practice by Chan Hong, Teach Us to Praise by Loh I-

zhi dongchuan [Carstairs Douglas’s Music Theory Books and the Introduction of Western music theory into the East], in: Music Research 1, 2009, 24-38. Chen Ruiwen, Yinyue yu chuan- jiao: yizhong houzhimin wenhua piping zaiquanshi-yi ‘jiaowu zazhi’ wei zhongxin [Music and Mission: Re-interpretation of Post-Colonial Culture Criticism-Centered on The Chinese Re- corder], in: The Collection of Papers of The 4th International Young Scholars’ Symposium on ‘Christianity and Chinese Society and Culture, Center for Study of Religion and Chinese Soci- ety (ed.), Hong Kong 2010, 309-340; id., A Study of Music Preaching Strategy in Modern China-Centered on The Chinese Recorder, Master of History Thesis, Shanghai University, 2010. 26 Chen Ruiwen, Quanqiu diyuhua: jidujiao yinyue yu defang shehui guanxi tanxun-yi shanghai guoji libaitang wei gean yanjiu [Glocalization: The Relationship between Christian Music and Local Society-A Case Study based on the Christmas Music Worship in Shanghai Community Church], in: Difang shehui wenhua yu jindai zhongxi wenhua jiaoliu [The Cuture of Local So- ciety and the Cultural Exchange of China and the West in Modern China], Wu Yixiong (ed.), Shanghai 2010, 130-160; id., Faith, Worship, Music: A Study of Chinese Local Christian Music Worship, paper presented for IASACT-2009 program by United Board for Christian Higher Education in Asia, Chung Chi College, Hong Kong, June 14-July 23, 2009. 22 Introduction to are examples.27 Other examples would include: Essays on Sacred Music and Worship by Lai Boon-tsing, “Music and Worship: Theory and Practice” by Loh I-to, “The Place that Chinese Music should have in Christian Worship” by Lee Ching-Hsing, “A Model for the Propaga- tion of Christianity – Musical Application and Practice” by Chen Jingfen. All of these studies help to develop a theoretical approach to the subject of sacred music and Christian worship.28 Other studies have addressed the issue of the contextualization of Chinese church music. Some relevant contributions include: Essays on The Direction of Christian Music by Law, Ping-leung; “Pursuing the Church Music with Chinese Style”, “Trends in the Indigenization of Asian Church Music” by Loh I-to, “The Collection of Speeches on the Indigenization of Church Music from the 7th Conference of the World Association for Chinese Church Music” by Wong Wing Hee, “Contem- plation on Indigenized Sacred Music” by Kuo Nai-Duen, Yang Lix- ian.29 All of these essays and speeches reflect on the continual development of the contextualization of Chinese sacred music. Finally, other

27 Law, Ping-leung, Shengyue zonglun I [Perspectives on Church Music I], Hong Kong 2007; id., Shengyue zonglun II [Perspectives on Church Music II], Hong Kong 2007; id., Shengyue zonglun III [Perspectives on Church Music III], Hong Kong 2007. Philip Hong Chan, Chongbai yu shengyue: lilun yu shijian quanfangwei toushi [Worship and Music: Theory and Practice], Hong Kong 2005. Loh I-to, Jiao wo songzan: zhuiqiu shikuang de jiaohui yinyue [Teach Us to Pray], Tainan 1992. 28 Lai Boon-tsing Joseph, Tuosu xunzhen: shengyue yu chongbai pinglunji [Essays on Sacred Music and Worship], Hong Kong 1999. Loh I-to, Yinyue yu chongbai lilun yu shiji-jiangyu shijie huaren jidujiao shengyue cujinhui diqijie dahui ji yantaoying [Music and Worship, The- ory and Practice-A Speech on the 7th Meeting of The World Association for Chinese Church Music), in: Sacred Music Quarterly 10, 1985, 1-4; id., Yinyue yu chongbai lilun yu shiji- jiangyu shijie huaren jidujiao shengyue cujinhui diqijie dahui ji yantaoying (xuwan) [Music and Worship, Theory and Practice-A Speech on the 7th Meeting of The World Association for Chinese Church Music (end)], in: Sacred Music Quarterly 1, 1986, 1-8. Lee Ching-Hsing, Zhongguo yinyue yu jidujiao chongbai zhong yingyou de diwei [The Place that Chinese Music should have in Christian Worship], Master Thesis, Tainan Theological College and Seminary, 1966). Chen Jingfen, Jidujiao xuanjiao dianfan-yinyue de yingyong yu shijian [A Model for the Propagation of Christianity – Musical Application and Practice], Master Thesis, Tainan The- ological College and Seminary, 2002). 29 Law, Ping-leung, Jidujiao shengyue luxiang lunwenji [Essays on The Direction of Christian Music], Hong Kong 1999. Loh I-to, Zuiqiu zhongguo fengge de jiaohui yinyue [Pursuing the Church Music with Chinese Style], in: Sacred Music Quarterly January, 1985,1-5; id., Zuiqiu zhongguo fengge de jiaohui yinyue (xuwan) [Pursuing the Church Music with Chinese Style (end)], in: Sacred Music Quarterly April, 1985, 8-11; id., Yazhou jiaohui yinyue bensehua zhi quxiang [Trends in the Indigenization of Asian Church Music], in: Sacred Music Quarterly 1, 1987, 1-5. Wong Wing Hee, Diqijie shijie huaren shengyue cujinhui shengyue bensehua fayan jijin [The Collection of the Speeches on the Indigenization of Sacred Music on the 7th Meeting of The World Association for Chinese Church Music], in: Sacred Music Quarterly April, 1985, Fragrant Flowers Bloom 23 investigations have focused on the church music service. For example, Church Music Forum: Worship and Church Music Forum II: Church Music Education and Worship Renewal by Tam Ching Chi treats the relationship between worship and self-improvement, the interaction between church music and education, as well as the practice of the sacred music service.30 These studies indicate that the subject of the contextualization of music has been a focus in other scholarly research as well. What contextualized sacred music is and how it can function in Chris- tian worship shape the cognitive background for this research. How- ever, ours is an historical, rather than a theoretical study, and so we will only touch on these studies in so far as they are relevant to our project. In relationship to historical studies of Chinese Christian music, theoretical and musicological studies are at an early stage of development. Much more work remains to be done.

Terms, Methodology and Sources A few definitions should be made at the outset: According to The Oxford Companion to Music, a hymn is “a term deriving from ancient Greek pagan religious song, later applied to (especially strophic and metrical) genres of Latin Christian song, and thence vernacular Christian song.”31 In this study, we will apply this term hymn to the great variety of Christian songs, chants, anthems, spir- ituals, and gospel songs found in the 20th century Protestant hymnals published in China. Hymnology, according to Harry Eskew and Hygh McElrath, is “a technical term which refers to the systematic study of the history and use of hymns.”32 According to The Shorter Oxford English Dictionary on Historical Principles, Hymnology is: (1) The singing of hymns, 1855; 2) The composition of hymns, 1839; 3) The study of hymns, their history, use, etc.; also, hymns collectively 1818.33 Hymnody is (1) The singing or composition of hymns; (2) Hymns collectively; the body of hymns belonging to any age, country, church, etc. This usage dates

27-30. Kuo Nai-Duen, Yang Lixian, Bensehua shengyue de chensi [Contemplation on In- digenized Sacred Music], Taipei 1986. 30 Tam Ching Chi, Shengyue wencui: jiaohui jingbai [Church Music Forum: Worship], Hong Kong 2002; id., Shengyue wencui II: shengyue jiaoyu yu jingbai gengxin [Church Music Forum II: Church Music Education and Worship Renewal], Hong Kong 2005. 31 Alison Latham, The Oxford Companion to Music, http://www.oxfordmusiconline.com/ subscriber/article/opr/t114/e3366?q=hymn&search=quick&pos=2&_start=1#firsthit (accessed February 9, 2015). 32 Harry Eskew and Hygh McElrath, Sing with Understanding, Nashville 1995, 158f. 33 The Shorter Oxford English Dictionary on Historical Principles (Vol.1), Oxford 1973, 1006. 24 Introduction from 1864.34 Basically, we can say that hymnology involves the study of hymns, whereas hymnody refers to hymns collectively. This is the sense in which the term is used in the title of this book, and throughout the text. A Chinese hymn is contextualized if the author is attempting to engage Chinese culture, in his choice of music, text and/or theology. Not all Chinese hymns attempt to do this. A contextualized hymn may be written by a Chinese or a non-Chinese. There are not better or worse forms of contextualization, but rather different kinds of contextualization. In this book, we will primarily use the word "text" in referring to Chao's hymns and translations. Text indicates the interaction between the words of the hymns (lyrics) and theological thought. It therefore better reflects the aspect of contextualization, which is emphasized in this book. There have been different terms used for what we term contextualization in this book. Adaptation or accommodation was the term used by the Jesuits in the 16th-18th centuries, to refer to the ways in which they were trying to present Christianity so that it could be understood by Chinese intellectuals.35 In the nineteenth and early twentieth centuries, missionaries began writing about indigenization, as a way of making Christianity Chinese. At the time in which T. C. Chao and Bliss Wiant were engaged in their work, indigenization was the term commonly in use among missionaries and Chinese Christians alike. For the purposes of this book, we use the term contextualization instead of indigenization.36 The term contextualization has been widely used in studies of the history of Christianity in China.37 According to Peter Chen-Main Wang, Contextualization in the study of the history of Christianity in China has become increasingly popular in recent years. It has become a key research crite- rion in evaluating the strategies of Christian missions, of missionary behavior,

34 Ibid. 35 For a recent overview of the Jesuits in China, cf. Liam Matthew Brockey, Journey to the East: The Jesuit Mission to China, 1579-1724, Cambridge, MA and London 2007. Also, cf. Geng Sheng, Ming Qing jian ru Hua Yesu hui shi he Zhong xi wen hua jiao liu [The Jesuits in Ming-Qing Dynasties and the Cultural Exchange of China and the West], Chengdu 1993. 36 The term contextualization began to be used in theological education in the 1960s. Cf. Shoki Coe (C. H. Hwang, 黃彰輝, 1914-1988), Text and Context in Theological Education, in: Theo- logical Education and Ministry – Reports from the North East Asia Theological Educators’ Conference, Seoul, 1966, Tainan 1967. 37 Peter Chen-Main Wang (ed.), Contextualization of the Christianity in China: An Evaluation in Modern Perspective, Sankt Augustin, Germany 2007. Fragrant Flowers Bloom 25

of conflicts between Christian and local cultures, and of the success or failure of a given Church mission in China […] Scholars can re-examine the Chinese Church or mission history through the prism of contextualization […] Contex- tualization is also a better tool to evaluate Christian missions and local Churches, as well as Chinese Christians. This approach will help us have a better understanding of how a foreign religion was introduced to a Chinese context, how a foreign context influenced mission strategies, how Chinese con- verts faced their non-Christian folks, and how Chinese Christians tried to es- tablish their own Churches in China.38 While the term indigenization emphasizes the local color (本色, bense) of a given culture; contextualization speaks more of the situation of the culture and society in which Christianity is situated (處境, chujing). The term contextualization has also been used in theological studies. According to Stephen Bevans, indigenization focuses on the purely cultural dimension of human experience, while contextualization broadens the understanding of culture to include social political, and economic questions.39 This is a useful distinction as far as it goes. Ac- cording to Simon Kwan, contextual theology is not like other theology which regards theology as only a concept through which we may know God; it doesn’t regard theology as a rational activity. In contrast, it pre- sents a new model-practice for doing theology. So the appearance of contextual theology means an emphasis on “practice.”40 What we will discuss in this book about writing Chinese hymns and the compiling of hymnals are the concrete practices that illustrate contextual theology. Bevans’ Models of Contextual Theology has been widely used in dis- cussions of theology and Christian mission, but the book has not gone without criticism. His models, in this author’s view, tend to be simplis- tic and one dimensional, and thus over generalized. Volker Küster, in contrast, emphasizes the multi-dimensionality of contexts and offers a different typology. He divides contextual theologies into the “cultural- religious” type and the “socio-economic and political type”, but goes onto say that all contextual theologies interact with one another.41 His

38 Op. cit., 7f. 39 Stephen B. Bevans, Models of Contextual Theology: Faith and Cultures, Maryknoll, NY 1992, 26. Also, cf. Volker Küster, The Many Faces of Jesus Christ. Intercultural Christology, Maryknoll, NY 2001, 17-28; id; A Protestant Theology of Passion – Korean Minjung Theology Revisited, Leiden and Boston 2010, 1-18. 40 Simon Kwan, Chujing shenxue [Contextual Theology], in: Xinshiji de shenxue yicheng (yi) [Theology for the New Century (Vol.1)], Benedict Kwok Hung Biu and Too Kin Wai (eds), Hong Kong 2002, 249. 41 Volker Küster, A Protestant Theology of Passion, 6f. 26 Introduction emphasis on interaction underscores the dynamic nature of all contextual theologies. In our definition, contextualization is the process whereby hymns and music are created and adapted in dialogue with a given context. Further, we define contextualization as the interaction between text and context in the translation and writing of hymns, and the composition of the music that accompanies them. In emphasizing the interactive give- and-take in hymn writing and composition, the term contextualization has a dynamic element which indigenization generally lacks. In the context of hymns and hymnology, a hymn as an expression of culture is understood in more dynamic, flexible ways and is seen to be not closed and self-contained, but more open and able to be enriched through the encounter with its own culture as well as other cultures and movements. While indigenization tended to see both the “home” culture and the culture “out there” as good, contextualization “tends to be more critical of both cultures.”42 However, in the history of Chinese hymnology, contextualization points to the fact that hymnology needs to interact and engage in dialogue not only with traditional culture, but with daily life and contemporary society. Furthermore, contextualized hymnology leads to the creation of new forms of dynamic musical art, read and played, written and sung, and this is why we use this term contextualization in this book. By the term Music preaching strategy we mean the strategies that Western protestant missionaries adopted in modern China such as the compilation of hymnals, the composition of hymns as well as music teaching, to promote the propagation of Christianity in China. In this book, Chinese names and places are spelled using pinyin Romanization, the official system in the People’s Republic of China, based on the pronunciation of standard Mandarin Chinese. The excep- tions are the names of individuals who have preferred a different spelling, or short citations from books and essays that use the older Wade-Giles system. In the case of proper names, the pinyin spelling will be indicated in parentheses, after their first usage. For example T. C. Chao (Zhao Zichen), T. Z. Koo (Gu Ziren). Chinese names that appear in pinyin are given with the surname first, as is customary in China. Chinese proper names not in pinyin are used according to the person’s preference, or according to the name by which he or she is commonly known. Translations from the Chinese, unless otherwise noted, are my

42 Bevans, Models of Contextual Theology, 26. Fragrant Flowers Bloom 27 own. Note that the titles with Chinese characters of all books and arti- cles appear in the bibliography. Bible quotations in this book are from the New Revised Standard Version (NRSV). This book is basically an historical study. We follow methodologies in historical studies that have been used in many other studies of Chris- tianity in China.43 As can be seen in the discussion of sources that appear in subsequent chapters, we are concentrating on certain primary historical texts that are interpreted in terms of their origin, composition and use, with additional insights from relevant secondary materials. More broadly, we approach our study from the perspective of the history of Christianity in China, employing commonly used research methods and approaches for the study of Chinese Protestant hymnology. The history of Christian missions, Sino-Western cultural exchange, the history of Chinese Christianity, biographical study, and the history of Chinese Christian music are all aspects of history that are related to our study. The main materials for this study are certain primary historical texts, supplemented by relevant secondary sources. The primary sources include the hymns and hymnals and other historical materials, such as the United Board for Christian Higher Education in China (UB- CHEA) Archives for Bliss Wiant and his relationship with Yenching University. The secondary sources include background materials and recent publications that are scattered in a great number of published works.

Brief Outline In Chapter 1, we will historically investigate the efforts on the contextualization of Chinese hymnology made by Western protestant missionaries in modern China, and explore the mediation and reflection on the contextualization of Chinese hymnology by Chinese Christians themselves in the middle of 1930s. This sets the stage for chapters that follow. Sources in both Chinese and English will be explored from the early 20th century onward, to analyze Chinese Christians’ attitudes toward contextualized texts and music.

43 For the methodologies in the studies of Christianity, cf. Nicolas Standaert, Daoyan: jidujiao zaihua chuanboshi yanjiu de xinqushi [Introduction: New Trends in the Historiography of Christianity in China], in: 1840 nian qian de zhongguojidujiao [The Christianity in China before 1840], Sun Shangyang (trans.), Beijing 2004, 1-59. Tao Feiya, Zhongguo jidujiaoshi yanjiu de xin quxiang [New Trends of Study on History of Christianity in China], in: Shilin [Historical Review] 2, 2013, 105-108.