In the long river of Chinese history, there exists a legendary figure who, despite his martial prowess, was compelled to don a fearsome mask due to his striking good looks. There is also an ancient dance form that, originating from exorcism rituals, evolved into an art celebrating heroism. The figure is Lanling Wang, and the dance is Nuo. Today, let us unveil the mysteries surrounding Lanling Wang and the Nuo dance, exploring this cultural legend that spans millennia.
Lanling Wang, born Gao Changgong in 541 AD, was the third son of Emperor Wenxiang of Northern Qi. Historical records describe him as "beautiful in appearance and strong in spirit, with a pleasing voice and countenance," even being hailed as one of the four great beauties of ancient times. However, such exquisite features posed a significant challenge on the battlefield.
Imagine a general of stunning beauty standing at the forefront of an army—how could he possibly intimidate the enemy? The clever Gao Changgong devised an ingenious solution: he commissioned a fierce-looking mask to wear before every battle. This was no ordinary mask; its eyes were as large as copper bells, its mouth agape revealing sharp fangs, presenting a terrifying visage as if ready to devour anyone in sight.
Thus, Lanling Wang, wearing his frightening mask, led his troops to numerous victories. The most renowned of these was the Battle of Mangshan. In 564 AD, the Northern Qi army found itself besieged by a hundred thousand Northern Zhou troops in Luoyang. Lanling Wang, leading just 500 brave warriors, broke through the encirclement and arrived at the foot of Jinyong City. When he removed his mask, the defending soldiers recognized him, their morale soared, and with a coordinated attack from within and without, they ultimately achieved victory.
This battle not only cemented Lanling Wang's military status but also became the inspiration for the later creation of "The Battle Song of Lanling Wang." The soldiers, to commemorate Lanling Wang's heroic deeds, composed this song and dance. The "History of Northern Qi" records: "The son of Qi Wenxiang, Changgong, was enfeoffed as the Prince of Lanling. In battle with Zhou's army, he once wore a mask to face the enemy, defeating Zhou's forces at the foot of Jinyong City, his bravery surpassing all in the army. The warriors jointly composed a song about it, called 'The Battle Song of Lanling Wang.'"
The creation of "The Battle Song of Lanling Wang" was closely tied to the cultural context of its time. The Wei, Jin, Southern and Northern Dynasties period was an era of social upheaval and cultural collision. The invasion of the Five Barbarians and their occupation of the Central Plains led to the emergence of new art forms born from the clash of different cultures. In this context, people tended to express their inner worlds through pure movement and gesture. This explains why "The Battle Song of Lanling Wang" is presented with vigorous and powerful dance gestures, without incorporating elements of martial arts or acrobatics.
The creation of "The Battle Song of Lanling Wang" is also closely linked to Nuo culture. Nuo is China's most ancient form of ritual dance, used for worshipping gods, exorcising demons, and warding off pestilence. It originated from hunting activities and totem worship in primitive societies. By the Zhou Dynasty, Nuo had been incorporated into state rituals, becoming an important ceremony for regulating the four seasons and the balance of yin and yang, and praying for favorable weather.
A key feature of Nuo dance is the wearing of masks. The "Textbook of Ancient Chinese Dance History" mentions: "The Grand Nuo was directed by the official Xiangshi, responsible for Nuo sacrifices at the imperial court. On such occasions, the Fangxiangshi would wear a bear skin, don a mask with four golden eyes, dress in black upper garments and red lower garments, and wield halberd and shield, leading the people of the five categories to search houses and expel pestilence." This practice aligns perfectly with Lanling Wang's use of a mask in battle.
"The Battle Song of Lanling Wang" inherited this characteristic of Nuo dance. The dancers wear golden masks with eyes like copper bells and mouths open revealing teeth, strikingly similar to the historical descriptions of Lanling Wang's mask. This mask is not only an important prop for the dance but has also become one of the most distinctive features of "The Battle Song of Lanling Wang."
Besides the mask, the costumes in "The Battle Song of Lanling Wang" are also quite unique. The dancers wear a type of garment called "liekang." Liekang was a popular military uniform during the Northern Qi period, reaching only to the waist and covering just the upper body. In the terracotta figurines unearthed from Northern Qi tomb clusters, we can see many images of warriors wearing liekang armor. The liekang in "The Battle Song of Lanling Wang" is designed for performance, with an embroidered outer layer and red tassels on the edges. Although it has evolved over a thousand years, it still retains the basic characteristics of the Northern Qi liekang armor.
The dance movements in "The Battle Song of Lanling Wang" are also distinctive. The entire dance is dominated by slow, heavy steps, showcasing Lanling Wang's imposing image. The dancer holds a short sword in the right hand and forms a sword finger with the left, mimicking actions of commanding, thrusting, and killing enemies, recreating Lanling Wang's valiant performance on the battlefield. The dance is divided into three sections, respectively portraying the preparation before battle, the fierce fighting on the battlefield, and the joy after victory.
Musically, "The Battle Song of Lanling Wang" employs the Shatuo tune. The Shatuo tune originated from the ancient Shatuo tribe, a type of Turkic music. The Northern Qi was a multi-ethnic regime, and the creation of "The Battle Song of Lanling Wang" incorporated musical elements from multiple ethnicities. Among the musical instruments used, we can see the presence of traditional ancient Chinese instruments such as the Qi drum, Jie drum, cheng, and bili. The use of the Jie drum is particularly noteworthy. The Jie drum produces a rapid and loud sound, commonly used as a war drum in ancient times to boost the morale of soldiers, perfectly fitting the war scenes depicted in "The Battle Song of Lanling Wang."
"The Battle Song of Lanling Wang" was created during the Northern Qi Dynasty and flourished during the Sui and Tang Dynasties. Regrettably, this dance has been lost in China. Fortunately, it has been well preserved in Japan. During the Tang Dynasty, Japanese envoys visited and studied in China multiple times, and it was during this process that "The Battle Song of Lanling Wang" was introduced to Japan.
In Japan, "The Battle Song of Lanling Wang" is listed as an intangible cultural heritage and has become a form of Japanese gagaku (court music). Every year, during important festivals such as the Horse Racing Festival on May 5th, the Sumo Festival on July 7th, and the Kasuga Taisha Shrine Festival in Nara on January 15th, "The Battle Song of Lanling Wang" is performed as the first solo dance program.
In 1986, historical scholars from the tomb of Lanling Wang in Handan City, Hebei Province, China, recovered "The Battle Song of Lanling Wang" through Japanese experts. In 1992, on the 1428th anniversary of the creation of "The Battle Song of Lanling Wang" and the 20th anniversary of the normalization of diplomatic relations between China and Japan, experts from the Nara Southern Music Department in Japan came to China and performed at the tomb site of Lanling Wang, undoubtedly a return and exchange of culture.
The legendary story of "The Battle Song of Lanling Wang" tells us that the power of culture is boundless. It can transcend time and space, cross national boundaries, and still radiate vitality after a thousand years. This dance not only records the heroic deeds of Lanling Wang but also carries the cultural genes of the Chinese nation.
From Lanling Wang wearing a mask into battle, to the creation of "The Battle Song of Lanling Wang," to its preservation in Japan, we see the inclusiveness and vitality of Chinese culture. The mask is not only a manifestation of Lanling Wang's wisdom but also an important element of Nuo culture and a signature feature of "The Battle Song of Lanling Wang." It strings together a cultural story spanning a thousand years, witnessing the inheritance and development of Chinese culture.
Today, when we look back at this history, we can't help but marvel: the wisdom of the ancients could integrate military, religion, and art into such a unique cultural form. "The Battle Song of Lanling Wang" tells us that the power of culture is infinite. It can inspire morale, unite people's hearts, and pass on civilization. In this era that emphasizes cultural soft power, we should cherish cultural treasures like "The Battle Song of Lanling Wang" even more, allowing them to shine with new brilliance in the new era.
