◀ Peace Reigns over the River Comprehensive index starts in volume 5, page 2667. Pear Garden Líyuán ​梨 园 During the Tang dynasty the progressive em- that incorporated modes of performance that were tra- peror Xuanzong endowed the Pear Garden in ditionally sacred in origin, namely, singing and dancing. Chang’an (modern Xi’an) in 714 ce as a con- By removing the religious element, the performing arts servatory for the nascent performing arts. Sec- began to develop along secular lines. One style of presentation especially favored by the ular music and dance developed and thrived Emperor was choral song, which became further refined there, especially Chinese opera; the roots of a s a r t - s o n g ( xiaoling), a form that related tales in a dra- later classical and modern Chinese dramatic matic fashion. Such songs were often concerned with performance can be traced there as well. courtly activity as well as the trials and tribulations of lovers beset by hardship and even political intrigue. Given their narrative emphasis of these songs, it was not long n 714 ce Emperor Xuanzong (685– 762) established before another venue of dramatic recitation was engaged a conservatory for the performing arts in the city of that depended upon music and dance. Consequently, Chang’an (modern Xi’an), which he called Li- yuan,​­ or much attention was given to developing secular music at the “pear garden.” During the Tang dynasty (618–907 ce), the courtly level, and instruments, such as the lute, the a period both of political stability and rich cultural ex- harp, the zither, the flute (both vertical and transverse), pression, China encouraged, and sought out, interaction the side-​­drum, the kettle drum, the oboe, the gong, and with the outside world. One of the results of this cultural the clapper were perfected to accompany choral, narrative and political milieu was the thorough advancement of song. Thus, the Pear Garden tradition successfully com- the arts. bined the various performing arts (music, dance, dialog, Although this period is renowned for its poetry, paint- and acting) into one art form, that is, opera; the linguistic ing, and ceramics, it was also a time of steady progress basis of operas performed at this time was the vernacular in musical knowledge and theory. But it was during the that would later be classified as classical Chinese. reign of Emperor Xuanzong (685– 762) that one aspect It is also important to note that, at this early stage, of Chinese music received his personal support: opera Chinese opera did not include what has become its tradi- (xiqu). The initial purpose of the Pear Garden was to train tional cast of characters: the clown, the male and female, actors, singers, and dancers for the personal delectation and the strong male with the painted face; these inno- of the Emperor, but it was not long before the innovations vations were introduced later during the Yuan dynasty that were developed there began to influence Chinese (1279–1368). Whether choral song during the Tang period performing arts as a whole. Before 714, the performing involved humor, elaborate costumes, and acrobatics is still arts were intimately linked with religious rites and rituals. debated among scholars. Also, given the penchant of Em- Xuanzong, however, demanded personal entertainment peror Xuanzong, the majority of the students in the Pear 1731 I © 2009 by Berkshire Publishing Group LLC 1732 Berkshire Encyclopedia of China 宝 库 山 中 华 全 书 Children of the Pear Garden In his 1894 essay “A View From the Great Wall” William appeared in the rudest ages, attained its highest pitch Alexander Parsons Martin discusses the “Children of the of perfection—Li​­ Po and Tu Fu [Li Bai and Du Fu] be- P e a r - g a r d e n ”: ing the Pope and Dryden of an age of poets. Chinese poetry comprehends every variety, except the epic, its t is a mistake to reckon the whole population of place being filled by semi-​­poetical romances. China as adherents of the Buddhist faith. It has I The Chinese theatre now secured for the first time absorbed Taoism, but the educated classes, almost the honor of Imperial patronage, a stage being erected without exception, adhere to Confucius; and even the in a pear-​­garden, whence actors are still described as uneducated profess allegiance to the Great Master of “Children of the Pear-​­garden.” China. The truth is that, while each religion has a hi- erarchy of its own, the faith and practice of the masses Source: ​Martin, W. A. P. (1894). Hanlin papers: Essays on the rest on a mixture of all three. history, philosophy, and religion of the Chinese. Shanghai: Kelly In the T’ang dynasty (618– 905), poetry, which & Walsh, 56. Garden and its subsequent graduates were women who Further Reading were employed to provide entertainment both at courtly Chen, Jack. (1949). The Chinese theatre. London: Dennis functions and at private performances solely for the Em- Dobson. peror. And given the breadth and extension of China dur- Dolby, W. (1976). A history of Chinese drama. London: P. ing the Tang Dynasty, it is also assumed by scholars that Elek. many of these women were slaves from other countries. Hung, Josephine Huang. (1961). Children of the pear gar- The importance and durability of the techniques engen- den. (Trans.). Taipei, Taiwan: Taipei Heritage Press. dered during the reign of Emperor Xuanzong are such Mackerras, C. & Wichmann, E. (Eds.). (1983). Chinese that, to this day, actors are commonly referred to as “chil- theatre from its origins to the present day. Honolulu: dren of the Pear Garden.” University of Hawaii Press. Scott, A. C. (1978).The classical theatre of China. Westport, Nirmal DASS CT: Greenwood Press. Pearl River ▶ © 2009 by Berkshire Publishing Group LLC.