In an era long before most people confined themselves to restrictive settings and enclosed rooms under harsh fluorescent lights, our ancestors lived without barriers to nature. They were not limited by four walls but were surrounded by the serene beauty of meandering streams, the rustling of bamboo leaves, and the company of close friends. It was a time when knowledge and creativity intertwined naturally with the environment, formed through moments of reflection, creating a harmony that modern life seems to miss. This peaceful and poetic scene is delicately recreated in the piece “Poets of the Orchid Pavilion” by the Shen Yun Symphony Orchestra.
This composition, by Jing Xian, takes us back to the fourth century when a group of Chinese literati gathered on the banks of a meandering stream to sip wine, write poetry, and enjoy each other’s company. The poetry and calligraphy they created that day became some of the most celebrated works in Chinese history, capturing the essence of refined pleasures and the spirit of ancient scholars.
In this work, the pipa emulates the mellow tones of the ancient qin (a favored instrument of scholars) using lower register and techniques such as wide vibrato, glissandos, and occasional harmonics. Thus, this piece aspires to lead you into the minds of ancient intellectuals. You’ll notice the melodies elegantly forming like brush strokes, varying from strong to light, capturing the scholars’ thoughts and their deep connection to the practice of self-cultivation and the elevation of their consciousness.
What if we could reconnect with that sense of wonder and genuine emotion? Imagine the inspiration that could arise from such an environment, where the distractions of modern life fade, and the mind is free to explore, create, and reflect. Let this piece take you back in time, immersing you in a different way of life and thinking, where the beauty of nature, the power of human connection, and the depth of knowledge are cherished.
The Ancient Charm and Unique Pleasures of Scholars
Opening with a fully rounded sound of flutes, the piece immediately brings a sense of mystery and serenity. This sound conjures up an ancient space teeming with spiritual energy—pure and potent. The characteristic cold timbre of the flute is ideally suited to convey the clear coolness of spring weather, with each cold wind brushing against the skin as if transporting us to the middle of a green bamboo forest on a foggy early morning. On one side, we envision forests and mountains; on the other, a fast-flowing river and stream. The vast sky and expansive land seem to empower the traveler. This setting beautifully frames the story that is about to unfold.
Following this, the composition incorporates ancient Chinese sounds from a sacred period when the ringing of bells was essential, glissandos on the harp, and, most notably, the pipa—the highlight of the work. The pipa is employed to simulate the pure, warm tone of the guqin. The guqin enjoys a prestigious status as the scholar’s instrument, along with the vertical bamboo flute. These ancient instruments are masters of subtlety. Guqin music is known for being slow, deep, and contemplative. Because of its reserved nature, combining the guqin with a symphony orchestra would be challenging. Instead, Shen Yun composers adapt pipa techniques and lower strings to imitate the guqin’s slides, harmonics, and stylish vibrato while retaining the resonance needed for a symphonic setting. Here, the combination of pipa and glissando on the harp creates a magical musical space, as if opening up a fairyland in the human world.
With each note of the clarinets at ((0:37)), we see shadows of literati appearing like fairies, walking gently with an elegant style, seemingly untouched by worldly concerns. This temperament, forged from within the soul, exudes the unmistakable beauty of ancient intellectuals. This music reflects the inner world of the scholars, giving us an overall view of those once called the elite of ancient China. The clarinets’ melodies also carry passionate feelings for the charming scenery, as if drifting along the nearby stream.
In this idyllic setting, the literati sit hierarchically along the bank while someone upstream releases cups of wine made with lotus leaves floating in the water. When one of those cups stops on the shore in front of a participant, that person must drink the wine from the cup and compose a poem on the spot—or drink three cups as a penalty. Their souls drift along the stream, their minds lost in thought, striving to create verses when their turn comes, expressed by the thoughtful plucking of the pipa.
What appears to be a simple, leisurely game actually demands significant intellectual effort and carries deep meaning. From this, we cannot help but admire the art of living and the elegant, poetic lifestyle of the forebears. The scholars gathered here are not merely enjoying wine and poetry, but also seeking inner tranquility. Each poem they create is a part of an internal dialogue, a way to express and share their deepest emotions. In the stillness of nature, they nurture their minds and discover unique inspiration. The challenge of this game lies not only in composing poetry but also in maintaining a balance between emotion and reason, between joy and contemplation. In these moments, their creativity reaches its peak, and the works they create become classics.
This ancient form of entertainment is remarkably distinct. Each plucked note of the pipa carries a bit of concern, thought, and struggle with the poems, paralleling the flowing melodies of the clarinets, much like cups of wine floating down the stream. This musical interplay not only portrays the scholars’ deep engagement with their craft but also highlights the elegance in their lives. As we listen, we can almost sense the depth of mental exertion and intellectual dedication of the scholars, along with the joy of sharing these moments with like-minded companions.
Transforming Thoughts into Poetry
And after a moment of contemplation, they shaped their ideas and began to write their first poetic phrases. The erhu, with its silky melody at ((0:57)), captures the gentle, winding strokes on the blank page. Each musical line serves as a thread connecting scattered thoughts, transforming them into a cohesive, fluid stream, much like the gradual formation of a poem.
The pipas, which initially played plucked notes, now transition to vibrato sounds dotted with more overtones. This shift creates a seamless sound that runs alongside the erhu, symbolizing a circuit of thoughts directing the hand on paper. It is as if, at that moment, they had received a divine spark of inspiration. The more they write, the higher their excitement builds. Their ideas surge like waves, driving their hands to work tirelessly to capture this flow of thoughts.
The burst of creativity and pure energy is vividly conveyed by the entire orchestra at ((1:16)). Following this, the sound of the pipa at ((1:25)) adopts a new tone, completely shedding any traces of shyness or hesitation. They now play with excitement and confidence, ready to accept the challenge of composition. Bright musical notes echo along the glissando like enlightened ideas, capturing the scholars’ sense of inspiration.
Reflecting on this scene, we can draw parallels between the pleasures of these ancient scholars and those of modern individuals. In ancient times, people found satisfaction effortlessly in the workings of the natural world, appreciating and marveling at the deep connection between the inner self and the universe. Unlike today’s fleeting, superficial entertainments, their joy was pure and refined. These noble values permeated the atmosphere, bringing a sense of purification and uplifting the spiritual state, which the entire orchestra unanimously conveyed shortly after.
The Captivating Link Between Calligraphy and Music
At ((2:10)), the piece turns again to a light and slow melody with the combination of flutes and the bass of the pipas, expressing the timbre and vibrato of the qin. Throughout this musical journey, we experience fluid transitions from strong, high rhythms to slow, contemplative melodies, and here we are again drawn back to a gentler pace. This mirrors the beautiful similarities between the two arts of calligraphy and music, both focusing on force and rhythm. Calligraphy, often described as a silent song, demands finesse in brush strokes—sometimes strong, sometimes light, sometimes square, sometimes round, sometimes fast, and sometimes slow. When listening to this music, we can almost visualize the gentle, flowing brush strokes gliding across the paper, each stroke harmonizing with each line of melody.
The combination of flutes and the bass of the pipas evokes a feeling of intoxication and lightheadedness reminiscent of the influence of wine. In that state of inebriation and fervent emotion, Wang Xizhi immortalized an extraordinary moment for posterity. In this context, someone proposed to collect random poems into a compilation, and everyone unanimously requested Wang Xizhi to write the Preface. He took advantage of his euphoria and used a weasel-whisker brush on cocoon paper, writing in one fluid motion. This became the “Poets of the Orchid Pavilion.” The next day, it is said that even when Wang Xizhi attempted to rewrite his Preface over a hundred times, none satisfied him as much as the original.
In this segment, the pipa simulates the ancient qin, emphasizing the noble ideals and graceful demeanor in Wang Xizhi’s journey of self-cultivation and calligraphy practice. His persistence and dedication allowed him to achieve a brilliance that nearly transcends the ordinary realm. As if supported by what felt like higher beings, Wang Xizhi wrote the Preface with a soaring quality, as if on the peak of clouds, as strong as the flying dragon and the dancing phoenix, described in the powerful climax played by the whole orchestra at ((3:00)).
Here, Wang Xizhi emerges as a symbolic figure of ancient scholars dedicated to the perfection of their inner selves and character. They allowed their souls to be free, unbound by mundane material concerns. They understood that being preoccupied with immediate fame and benefits would only hinder their transcendence to reach the pinnacle of true scholarship and enlightenment.
A Timeless Connection Through Music and Words
The piece ends by returning to the flute melody at ((3:57)), echoing the same motif that opened this enchanting journey. This final passage gently wraps up the scene, allowing it to sleep peacefully in the flow of time, yet leaving behind the enduring dreams of the literati and scholars of that era. Wang Xizhi, in his Preface, predicted that future generations “will look upon us just as we looked upon the past.” Although time may change, human sentiment remains unchanged.
Wang Xizhi did not write for history or solely for himself. Instead, he observed life and shared his insights with us, his future readers, inviting us to experience life as he did in his time. This connection underscores the idea that, regardless of the era, human nature always gravitates toward beauty and true art. This serves as an inspiration for modern artists and literati to continue pursuing authentic art.
As the piece ends, a feeling of nostalgia lingers within me. The combination of a strong climax and a gentle, gradually fading ending, tapering off with the flute, leaves a lasting aftertaste. It feels as though today’s joy will become tomorrow’s sweet memory. Everything will eventually only exist in our minds, but the values we create will last forever and continue to influence the future. Therefore, we should cherish and value the present and act with thoughtfulness because what we do today will shape the legacy we leave for the future.
For those eager to immerse themselves in the world of Shen Yun, their compositions, including this gem, can be streamed online via Shen Yun Creations (Shen Yun Zuo Pin).
