Ethnic Series BOX: What You Should Know about Chinese Buddhist Chanting

Chanting in Chinese Buddhism, originally known as Yushan Fanbai, was first created by Cao Zhi (Prince Si of Chen) during the Cao Wei period. It was later structurally formalized by Master Dao'an during the Jin dynasty. It has been primarily used in three areas: Dharma teaching ceremonies, six-period daily practices (now known as morning and evening chanting), and repentance rituals in monasteries. These are collectively referred to as the "Three Divisions of Dharma Assemblies," with a history spanning over 1,600 years. Consequently, Chinese Buddhist chanting developed primarily in accordance with these ritual procedures.

The ritual text of fanbai generally consists of six main components: (a) praises of the Buddhas' virtues, (b) descriptions of pure lands and the characteristics of deities and Buddhas, (c) exhortations for participants' reflection, (d) various Buddha names, (e) mantras, and (f) describing participants' mental states and ritual actions, such as repentance, making vows, and taking refuge. These contents are presented through various literary forms, such as gathas (verses) and chants of praise, each with its own distinct musical style. For example, gathas use repetitive patterns of a single melody to render poems composed of four-, five-, seven-, or eight-character lines. Chants of praise, on the other hand, are set to traditional Chinese tune forms (qupai), which consist of musical phrases of varying lengths. A representative example is the chant Lu Xiang Zan (Praise of the Incense Burner).

In addition, there are two rhythmic modes found in fanbai: free rhythm and fixed rhythm. Free rhythm features long time intervals between beats, or even a complete absence of rhythm, as seen in the opening chanting by the chant leader (weina) or in the chanting of dedication texts. Fixed rhythm, on the other hand, follows regular time units, typically in even numbers such as four or eight beats per measure. An example of this is the chanting of The Four Great Vows.

The form and structure of fanbai suggest that its functions can be broadly classified into four main categories: (a) the inheritance of doctrines, (b) the cultivation of religious sentiment and spiritual practice, (c) making offerings to Buddhas and Bodhisattvas, and (d) spreading the Dharma. Among these, the cultivation of religious sentiment is primary. Therefore, during chanting, one should maintain a solemn, calm, and steady vocal delivery.


Buddhist Chanting — Awakening Our Innate Buddha-Nature through Sound

[Ethnic Chapter] Exploring the Diverse and Harmonious Culture of Buddhist Chanting

Ethnic Series BOX: What You Should Know about Chinese Buddhist Chanting

[Society] Buddhist music and online Buddhist chants

[Practical Guide] Q&As of Buddhist Chanting

Practical Box: Tips for Buddhist Chanting 


Resource: Issue 298 of Humanity Magazine, Dharma Drum Publishing Corporation
Photo: Provided by 賴信川, photographed by 張錦德 
Translation: Olivia 
Editing: Keith Brown, 演香法師 (Venerable Yan Hsiang)