Jump to content

Geji

From Wikipedia, the free encyclopedia
(Redirected from Gējì)

Geji was a courtesan entertainer in ancient China,they served as singers and dancers in society, providing performances and social functions for the educated emperor, nobles and literati class.[1][2][3]Geji were also allowed to have Sexual and romantic relationships with their wealthy patrons.[4][5]Concubinage was legal in ancient China, and upper-class men could choose a geji to be his concubine. Many geji would also use art and poetry to attract potential husbands.[6]Gejis need to undergo rigorous training in performing arts and cultural courses, after which they are hired to perform at banquets, official ceremonies, court gatherings and even religious events.Gejis have made certain contributions to the development of ancient Chinese music, dance, poetry, painting and zaju.

Court Gējìs of the Former Shu by Tang Yin (1470-1524)

History

[edit]

Early singing and dancing in ancient China also originated from sacrifices. The earliest dance used by the Han Chinese to worship gods, drive away plague and avoid epidemics, express peace was called "Nuo dance".[7]Wizards and witches would sing and dance during sacrificial activities. These witches who participated in singing and dancing may be the predecessors of later gejis.[8] Gejis in the usual sense originated from the court culture of the Xia Dynasty, and then developed from the court of the Xia Dynasty monarch Jie to the folk.[9]In Chinese history, in addition to the title of gejis, the main titles include wuji(舞妓), yueji(樂妓) and female musician(女樂) etc.[10]In ancient Chinese society, gejis like other performers, had a low social status as an entertainer class, but because of the love of music and dance in Chinese culture, music, dance, poetry and other arts were widely sponsored by educated upper-class people, even the emperor was a patron of art. Music and dance are indispensable in Chinese social activities, which have strict etiquette requirements.[11][12][13][14]Geji is one of the performers and inheritors of these arts. These gejis receive training in art and etiquette in order to please patrons with artistic and cultural accomplishments in performances and social activities.[15][16]Han E was a geji in hanguo during the pre-Qin period. She won applause and generous rewards with her superb singing skills. People shed tears and danced to her singing. The people near Yongmen in Qi State were good at singing crying because of the influence of Han E, which left behind a well-known historical story.[17]

Ensemble of female musicians, 2nd century BCE

Mo Chou, a geji of the Chu State in the late Warring States Period, made friends with famous poets Qu Yuan and Song Yu, received guidance and help from them. Mo Chou sang ancient and elegant repertoires, blending Chu Ci with songs, she completed the singing of the elegant repertoire "Yangchun Baixue(陽春白雪)".[18]There were a large number of gejis active in the court of Qin Shihuang Ying Zheng. These gejis were once from the original six kingdoms. They played musical instruments such as bells and drums in the Qin court.[19]During the Han Dynasty, Emperor Wu of Han, Liu Che was fascinated by Wei Zifu and Lady Li, who were both gejis. He liked their superb singing and dancing skills very much,they both became empresses one after another.[20]

Album Gathering Gems of Beauty (畫麗珠萃秀) Dancing Lady Li

Gejis receive strict training at a very young age. They need to receive training in cultural courses such as singing, playing musical instruments, dancing, poetry etc. They also need to learn etiquette and tea culture.[21][22]Gejis also participated in the singing of ancient Chinese Yuefu music. During the Southern Dynasties, literatis who had close contact with gejis learned new forms and transformed the songs sung by gejis into literary carriers.[23]Palace poems often depict gejis singing and dancing, they played musical instruments to entertain guests at banquets. The emperor also praised the gejis for their excellent pipa playing skills.[24]During the Northern Wei Dynasty, dance culture flourished, professional dancing girls or female dancers widely participated in dance performances.[25]

Five Dynasties gejis are performing

During the Tang and Song dynasties, the culture of gejis was considered to have reached its peak.[26] Literatis and gejis created poetry together and exchanged poems with each other. Many poems were written by male literatis and then adapted into songs by gejis.Tang Dynasty literatis looked to gejis for inspiration for their writing.[27]Some gejis composed their own songs, even popularized a new form of lyrical verse that incorporated quotations of famous historical figures.[28]Some gejis were poets themselves, Tang poetry and Song Ci were also sung by gejis. Gejis sang poems in the form of songs, playing a key role in the spread of ancient Chinese poetry.[29][30]During the Tang and Song dynasties, it became fashionable for literatis and aristocrats to invite gejis to go on outings, such outings were inseparable from singing, dancing, drinking and tea tasting.[31][32]During the Tang Dynasty, emperors highly patronized the arts. The gejis in the Tang Dynasty's Jiaofang had high artistic attainments and also enjoyed high treatment and status.[33]Xue Tao, Gongsun Daniang and some gejis were praised by the people and the upper class. Xue Tao was called "female Jiaoshu(女校書)" because of her outstanding literary talent.[34]Gongsun Daniang can perform various sword dances.[35]The gejis in the Song Dynasty were good at singing "xiaochang(小唱)" and "piaochang(嘌唱)". The gejis sang and danced, beat the rhythm with their hands,the male musicians next to them provided accompaniment with musical instruments. Many gejis were also outstanding and famous singers.[36]Song Huizong Zhao Ji was also an artist himself. He was fascinated by the geji Li Shishi and began a romantic relationship with her.[37]Liu E and Empress Yang of the Song Dynasty were both empresses who were born as gejis, they also achieved certain achievements in art.

A Tang dynasty dancing girl

During the Yuan Dynasty, gejis as the main actors of Yuan Zaju, directly participated in the stage performances of Zaju and also participated in the creation of poetry and Sanqu. The geji's exquisite singing, dancing and shuochang skills had a great influence on the dance and singing of Zaju.[38]In the late Ming Dynasty, gejis who were well-acquainted with male literati were trained in high cultural arts and produced their own paintings, poetry and calligraphy.[39]Gejis did not just perform poetry at gatherings, many gejis were also professional writers and artists, just like the male literati.In the last few decades of the late Ming Dynasty, writing poetry had even replaced singing and dancing as the most basic criterion for defining an elite geji.[40]Some gejis from the late Ming dynasty continued to perform singing and dancing as geji in the Qing dynasty. During the Qing dynasty, geji Lang Yuan(郎圓) performed the famous Tang dynasty dance "Zhe Zhi(柘枝)" at noble family banquet and was praised.[41]The playwright Li Yu (李漁) formed his own family theater troupe. The main actresses in Li Yu's theater troupe, Qiao Ji (喬姬) and Wang Ji (王姬) were both former geji. [42]

Female musicians by Ming Dynasty Qiu Zhu

Similar to the Japanese geisha tradition, the main function of the ancient Chinese gejis was to provide performance and social services to guests, sex was often incidental, gejis were known for their literary and artistic skills.[43][44][45][46]Traditionally, gejis as female entertainers who performed in public, they were usually not allowed to marry during their careers[47][48], but they were allowed to establish cohabitation relationships with their patrons, like a mistress.[49][50]The women in the "Yang Gang(揚幫)" and "Pearl River Cruise(珠江遊船)", they are sometimes considered gejis and sometimes directly considered as prostitutes. These women may have the dual identities of gejis and prostitutes.[51][52]Although in some cases, some gejis may provide prostitution, this was not a part of her profession as a geji and regarded as separated from it.[53][54]Gejis also led fashion trends to some extent. Gejis were proficient in dressing and makeup, their dressing would even lead other women to follow suit. [55]Gejis had special art teachers, male musicians taught them music skills, some famous calligraphers and painters would also take gejis as students. [56][57]Some gejis had high artistic skills themselves and also participated in teaching young gejis.[58]Prostitute in ancient China were usually called "changji (娼妓)". Some prostitutes who served the upper class also received artistic and cultural training, but many prostitutes did not even have the opportunity to receive artistic and cultural training. Gejis were high-class courtesans serving the educated upper class,some gejis were also artists.[59]Gejis also provided performances for female guests at family gatherings.[60]In Dunhuang culture, gejis used music and dance to worship gods.[61]Among the “Four Great Female Poets of the Tang Dynasty”, Xue Tao and Liu Caichun were both born as gejis. Xue Tao was also the first female innovator in the history of Chinese calligraphy and the first female innovator in the history of Chinese papermaking. [62][63]Ma Shouzhen was born as a geji, was the first female drama writer in Chinese history and the first woman in Chinese history to form a family-run Kunqu troupe.[64] The geji Xue Susu was the only female Go with historical records in the Ming Dynasty.[65] The geji Han Yuesu was the first female seal engraver in China to be recorded in the “Yinren Zhuan(印人傳)” as a seal engraver.[66]

Decline

[edit]

Zhu Sulan(朱素蘭), a geji and female tanci entertainer during the Xianfeng period founded "shuyu(書寓)",she was the first woman to establish a female storytelling venue.The storyteller gejis of the time were the highest class of courtesans, similar to Japanese geishas who distinguished themselves from prostitutes, but were also allowed to establish intimate relationships with their patrons.These storyteller gejis receive training as musicians in childhood and need to pass an exam to enter the industry. They also participate in cultural events organized by male and female storytellers, they are hired to perform in theaters, teahouses, restaurants and other places.Starting in 1860, "changsan(長三)" prostitutes gradually replaced gejis. Some storytelling gejis gradually withdrew from their profession. At the beginning of the 20th century, the storytelling gejis who had not left their profession became prostitutes of the changsan class.[67][68][69]Other singing gejis were no longer educated as before, they made a living by singing in teahouses. Later, the Nationalist government banned gejis in teahouses, some of them went to sing on boats called "qibanzi(七板子)" to make a living, they had a hard time and listening to gejis singing was no longer considered an art.[70]

Cultural influence

[edit]

On January 19, 2018, the top three winners of the 52nd Global Ecotourism Ambassador World Finals (MISS ALL NATIONS) and 12 other individual awards wore the costumes of the gejis "Eight Beauties of Qinhuai" in ancient China and worked with the famous artist Wang Liping to create the Chinese painting "Phoenix Dancing in the Sun" at the Jiangsu Baifengtang Art Museum. A total of ladies from 30 countries and regions including Canada, Germany, Russia, Thailand, Cote d'Ivoire and Myanmar participated in this competition.[71]

See also

[edit]

References

[edit]

Citations

[edit]
  1. ^ Wu, JunRu (2021-12-31). "The Curious Case of Chinese Courtesan Culture". The Mirror - Undergraduate History Journal. 41 (1): 29–30. ISSN 2562-9158. In order to understand the social role of the courtesan, it is important to define the position. This requires a comprehension of the etymology of the term, and how the English language may fail to reflect this idea in a translation. Classical Chinese is known to have a variety of words to define women in specific roles and duties within a given social ladder, the most common of these would refer to a courtesan as ji. While sexual favors may be one of the services provided by ji, she is first and foremost an entertainer. Chinese courtesan culture was defined by several integral points: a skill in the literary arts, such as writing and poetry; a comprehension in song and singing; a setting of trends in fashion and art; as well as the ability to combine these talents to promote a literary exchange amongst the elite.
  2. ^ 吴景荣; 程镇球 (2005). 新时代汉英大词典. 商务印书馆. ISBN 978-7-100-04345-8.
  3. ^ "她She&Her: On Women and Their Art in Chinese History".
  4. ^ "The Callous Fate of Chinese Women During the Ming Dynasty—Explored Through Ostensibly Beautiful Painting" (PDF).
  5. ^ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry" (PDF).
  6. ^ Morris, Peter Thomas. (1992) Cantonese Love Songs: An English Translation of Jiu Ji-Yung's Cantonese Songs of the Early 19th century. Hong Kong University. ISBN 962-209-284-5
  7. ^ "NUO – THE NUO THEATER – THE NUO CULTURE". Archived from the original on 25 September 2024.
  8. ^ China: Five Thousand Years of History and Civilization. City University of Hong Kong Press. 2007. p. 454. ISBN 978-962-937-140-1.
  9. ^ "Portrait of the Worldly Affairs: Jiyue (Women Music) Dance". Archived from the original on 25 September 2024.
  10. ^ "Women and the Guqin". Archived from the original on 25 September 2024.
  11. ^ "Political and Musical Change in Early China: The Case of Chu" (PDF). Archived from the original (PDF) on 25 September 2024. {{cite web}}: line feed character in |title= at position 49 (help)
  12. ^ "Traditional Chinese music and performance arts: Making sense of the sound". Archived from the original on 25 September 2024.
  13. ^ ""Yayue" Depicted on Ancient Chinese Bronzes". Archived from the original on 25 September 2024.
  14. ^ "Court Music of China, Japan and Korea" (PDF). Archived from the original (PDF) on 25 September 2024.
  15. ^ Blanchard, Lara C. W. (2018-06-05). Song Dynasty Figures of Longing and Desire: Gender and Interiority in Chinese Painting and Poetry. BRILL. p. 119. ISBN 978-90-04-36939-9.
  16. ^ "Lyrical Voices of Women in Sixteenth and Seventeenth Century China". Archived from the original on 25 September 2024.
  17. ^ "The identity and fate of ancient female musicians". Archived from the original on 25 September 2024.
  18. ^ "Mochou Lake National Wetland Park". Archived from the original on 25 September 2024.
  19. ^ Ai, Zhiping (2006). Yiji's poems and stories. Xuelin Publisher. pp. 22–23. ISBN 978-7807301707.
  20. ^ "One Sight: The Han shu Biography of Lady Li" (PDF). Archived from the original (PDF) on 25 September 2024.
  21. ^ "The Curious Case of Chinese Courtesan Culture". Archived from the original on 25 September 2024.
  22. ^ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry" (PDF). p. 10.
  23. ^ "The Origin and Nature of the "Nineteen Old Poems"" (PDF). Archived from the original (PDF) on 25 September 2024.
  24. ^ "The legacy of palace poetry: virtual Beijing and Luoyang and emotional shaping" (PDF). Archived from the original (PDF) on 25 September 2024.
  25. ^ "Analysis of Dance Forms and Cultural Factors of the Northern Dynasties in China" (PDF). Archived from the original (PDF) on 25 September 2024.
  26. ^ "Courtesan Women in Chinese History from 618 - 1279". Archived from the original on 25 September 2024.
  27. ^ Blanchard, Lara Caroline Williams (2018). Song Dynasty Figures of Longing and Desire: Gender and Interiority in Chinese Painting and Poetry. BRILL. p. 123. ISBN 978-90-04-36939-9.
  28. ^ Ebrey, Patricia Buckley (1999). The Cambridge Illustrated History of China. Cambridge University Press. p. 120. ISBN 978-0-521-66991-7.
  29. ^ "On the Characteristics of the Communication of Song Ci Geji". Archived from the original on September 25, 2024.
  30. ^ "'The beauty lies in women'—On the role of Gejis in poetry of the Tang and Song Dynasties". Archived from the original on September 25, 2024.
  31. ^ "The obscured shadow: Women Activities in the Tea Industry and Tea Culture in the Tang Dynasty" (PDF). Archived from the original (PDF) on 25 September 2024.
  32. ^ "The Elegance and Refinement of Song Dynasty Tea Culture (Part 2)" (in Chinese). Archived from the original on 25 September 2024.
  33. ^ "The Peak Time of Entertainment in China:A Study of the Jiaofang during the Tang Dynasty (618-907 AD)" (PDF). Archived from the original (PDF) on 25 September 2024.
  34. ^ Biographical Dictionary of Chinese Women: Tang Through Ming. M.E. Sharpe. 2014. p. 522. ISBN 978-0765643162. {{cite book}}: Unknown parameter |name= ignored (help)
  35. ^ "THE SWORD DANCE IN ANCIENT CHINA". Archived from the original on 25 September 2024.
  36. ^ "The "good voice" was also popular in the Song Dynasty: the first group was the "small singing" contestants". Archived from the original on 25 September 2024.
  37. ^ "Exotic beauty Li Shishi". Archived from the original on 25 September 2024.
  38. ^ "Yiji in the Yuan Dynasty and the Lyrics, Songs, Dances and Rap Arts". Archived from the original on September 25, 2024.
  39. ^ "Qing Dynasty Popular Culture". Archived from the original on 25 September 2024.
  40. ^ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry" (PDF). {{cite web}}: Text "pages:11-12" ignored (help)
  41. ^ "The status of dancers in the Qing Dynasty was humble, and there are only a handful of them in historical records". Archived from the original on 25 September 2024.
  42. ^ "Li Yu's private opera troupe premiered in Xuzhou". Archived from the original on 25 September 2024.
  43. ^ "Courtesan Culture in China & Japan". Archived from the original on September 25, 2024. (Look up the word "courtesan" in a dictionary, say Merriam-Webster's tenth edition, and one finds the following definition: "a prostitute with a courtly, wealthy, or upper-class clientele." Historically, however, the courtesans of China or Japan have been women whose appeal lay primarily in their surpassing musical and literary cultivation, not their sexual services. The demimonde of the elite Chinese "singing girl" or the Japanese geisha across the centuries.)
  44. ^ "CHINESE COURTESANS IN LATE QING AND EARLY REPUBLICAN SHANGHAI (1849-1925)-35 page" (PDF). Archived from the original (PDF) on 25 September 2024.
  45. ^ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry-10 page" (PDF). Archived from the original (PDF) on 25 September 2024.
  46. ^ "CHINESE COURTESANS IN LATE QING AND EARLY REPUBLICAN SHANGHAI (1849-1925)-37 page" (PDF). Archived from the original (PDF) on 25 September 2024.
  47. ^ Widmer, Ellen; Sun, Kangyi (1997). Writing women in late imperial China. Stanford (Calif.): Stanford university press. p. 61. ISBN 978-0-8047-2872-0.
  48. ^ Chang, Kang-i Sun, ed. (1999). Women writers of traditional China: an anthology of poetry and criticism (Nachdr. ed.). Stanford, Calif: Stanford University Press. p. 333. ISBN 978-0-8047-3231-4.
  49. ^ "The love affair between the 《Jianglikan》lyrics and Chen Zilong and Liu Rushi". Archived from the original on 25 September 2024.
  50. ^ "The Callous Fate of Chinese Women During the Ming Dynasty—Explored Through Ostensibly Beautiful Painting" (PDF). Archived from the original (PDF) on 25 September 2024.
  51. ^ "A Study on the Regional Identity Culture of Ancient Chinese Beauties". Archived from the original on 25 September 2024.
  52. ^ "Chapter 15: The Wooden Fish Gives New Sound". Archived from the original on 25 September 2024.
  53. ^ Precious Records: Women in China's Long Eighteenth Century
  54. ^ Ward, Jean Elizabeth (June 27, 2008). Li Qingzhao: an Homage to. Lulu.com. p. 108. ISBN 978-1435715134.
  55. ^ "How to become a "fashionable cool girl" after traveling back to the Tang Dynasty". Archived from the original on September 25, 2024.
  56. ^ "Li Xiangjun, one of the Eight Beauties of Qinhuai: Blood splattered on a poetry fan to show loyalty"". Archived from the original on 25 September 2024.
  57. ^ "Historical Topics of Female Painters in Jiaxing during the Ming and Qing Dynasties (Part 2)". Archived from the original on 2024-09-25.
  58. ^ Zhao, Mi (2017). "Ma Xianglan and Wang Zhideng Onstage and Offstage: Rethinking the Romance of a Courtesan Theatre in Ming-Qing China". Asian Theatre Journal. 34 (1): 122–151. doi:10.1353/atj.2017.0007. ISSN 1527-2109.
  59. ^ "Li Xiangjun in Shangqiu". Archived from the original on 25 September 2024.
  60. ^ Lee, Lily Xiao Hong; Wiles, Sue (2015-01-28). Biographical Dictionary of Chinese Women, Volume II: Tang Through Ming 618 - 1644. Routledge. ISBN 978-1-317-51561-6.
  61. ^ "Dunhuang yuejis compete on the same stage, it's hard to choose the "C position" of the "top stream" group". Archived from the original on 25 September 2024.
  62. ^ "Tianfu Culture Cloud Lecture Hall: Get to know the legendary life of Xue Tao, a talented woman from Shuzhong". Archived from the original on September 25, 2024.
  63. ^ "The talented women of Shu, Xue Tao is the most beautiful". Archived from the original on September 25, 2024.
  64. ^ Zhao, Mi (2017). "Ma Xianglan and Wang Zhideng Onstage and Offstage: Rethinking the Romance of a Courtesan Theatre in Ming-Qing China". Asian Theatre Journal. 34 (1): 122–151. doi:10.1353/atj.2017.0007. ISSN 1527-2109.
  65. ^ "[Playing Go] The Ming Dynasty, a Time of Countless Famous Go Players". Archived from the original on September 25, 2024.
  66. ^ "Han Yuesu: Delicate woman, famous seal engraver, bronze and stone appreciation". Archived from the original on September 25, 2024.
  67. ^ "Literati Connoisseurship of Tanci Flower Registers in Late Qing Shanghai". Archived from the original on 25 September 2024.
  68. ^ "CHINESE COURTESANS IN LATE QING AND EARLY REPUBLICAN SHANGHAI (1849-1925)" (PDF). Archived from the original (PDF) on 25 September 2024.
  69. ^ Gail, Hershatter (2022). Dangerous Pleasures: Prostitution and Modernity in Twentieth-Century Shanghai. University of California Press. pp. 42–43. ISBN 978-0520204393.
  70. ^ ""The Qinhuai River in the Sound of Oars and Shadows of Lights" by Zhu Ziqing". Archived from the original on 25 September 2024.
  71. ^ "International version of "Eight Beauties of Qinhuai" comes to Nanjing". Archived from the original on 25 September 2024.