Wikipedia

Geji

traditional female singer and dancer from ancient China

A Geji(Chinese: 歌妓、歌伎、歌姬[1]) was a courtesan entertainer in ancient China. They served as singers and dancers in society, providing performances and social functions for the educated emperor, noble and literati class.[2][3]Geji were also allowed to have sexual and romantic relationships with their wealthy patrons,but they are not sex workers.[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 needed 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 made certain contributions to the development of ancient Chinese music, dance, poetry, painting and zaju.[7]

Five Dynasties gejis are performing

History

change

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".[8] 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.[9] 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.[10] 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.[11] 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.[12][13][14][15] 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.[16][17] 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.[18]

 
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)".[19] 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.[20] 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.[21]

 
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.[22][23] 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.[24] 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.[25] During the Northern Wei Dynasty, dance culture flourished, professional dancing girls or female dancers widely participated in dance performances.[26]

During the Tang and Song dynasties, the culture of gejis was considered to have reached its peak.[27] 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.[28] Some gejis composed their own songs, even popularized a new form of lyrical verse that incorporated quotations of famous historical figures.[29] 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.[30][31] 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.[32][33] 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.[34]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.[35] Gongsun Daniang can perform various sword dances.[36] 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.[37]Song Huizong Zhao Ji was also an artist himself. He was fascinated by the geji Li Shishi and began a romantic relationship with her.[38] 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.[39] 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.[40] 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.[41] 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.[42] 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. [43]

 
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.[44][45][46][47]Traditionally, gejis as female entertainers who performed in public, they were usually not allowed to marry during their careers[48][49], but they were allowed to establish cohabitation relationships with their patrons, like a mistress.[50][51] 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.[52][53] 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.[54][55] 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. [56] Gejis had special art teachers, male musicians taught them music skills, some famous calligraphers and painters would also take gejis as students. [57][58] Some gejis had high artistic skills themselves and also participated in teaching young gejis.[59] 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.[60] Gejis also provided performances for female guests at family gatherings.[61] In Dunhuang culture, gejis used music and dance to worship gods.[62] 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. [63][64] 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.[65] The geji Xue Susu was the only female Go with historical records in the Ming Dynasty.[66] 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.[67]

Appearance

change

Dress

change

There was no special appearance of the costumes of gejis in ancient China,their costumes were generally based on the popular styles of the society at that time.During the Spring and Autumn Period and the Warring States Period, gejis wore hoods, dancing girls had sleeves several feet long. During the Warring States Period, gejis wore long-sleeved, curved-hem robes with cross collars and right lapels, long robes that trailed on the ground, and large belts tied around the waist.The gejis wore curved skirts, had extremely thin waists, their hair hung down to their shoulders and was slightly curled upwards. This was roughly the typical attire of gejis in the Yanzhao region.[68][69]The gejis of the Warring States Period also wore fan-shaped buns on their heads, with two strands of hair hanging down like phoenix wings, and one strand of hair on top of their heads floating upwards. They tied a small braid at the back of their heads, with the knot clearly visible.[70]The gejis painted on the unearthed painted wooden figurines and lacquer boxes of the Chu State all wore quju(曲裾) Hanfu, mostly long robes that reached the ground. This style was later borrowed by the robes of the Han Dynasty.[71]The leaders of women's clothing in the Han Dynasty were noble ladies and gejis in the capital. The clothing of gejis in the Han Dynasty, with long sleeves, tight waists, and lightness, was the best among women's clothing of the time. The dancing costumes of gejis in the Han Dynasty showed the beauty of the human body very well. The most eye-catching design of the dancing costumes was the long sleeves, which were an indispensable auxiliary means for dancing girls to express their feelings.[72]The costumes of court gejis in the Qin and Han dynasties were ingenious and varied, with light and gorgeous textures. They wore long-sleeved tight short tops and long skirts that dragged on the ground, they decorated with gold, silver, jewelry, tortoise shells, feathers, and jade. Court gejis in the Han Dynasty were famous for their ability to dance with water sleeves. Water sleeves are a special kind of clothing that appeared in the Qin and Han dynasties. The sleeves of ordinary clothes were connected to a section, and then narrow and long false sleeves were installed to increase the beauty of the dance. This kind of clothing was loved by many people, and the water sleeves in later opera costumes were influenced by this dance costume.[73]The geji has her hair in a high bun, which is decorated with jewels and flowers. She wears a long robe that trails on the ground with a left lapel, which is a typical Eastern Han Dynasty costume.[74]Zhao Feiyan(赵飞燕), a concubine of Emperor Cheng of Han who was born as a geji, invented a pleated skirt which she named "Liuxian skirt(留仙裙)". This skirt later became popular among women.[75]

The gejis of the Sui Dynasty wore narrow-sleeved tunics and high-waisted bust-binding skirts with flowing brocade belts. They liked to wear combs, which were popular at the time, on their heads.[76]In the Tang Dynasty, liao ling(繚綾) was used not only for official uniforms, but also for the clothes of palace maids and gejis,using it for dance clothes was considered a great luxury and waste. The dance clothes of gejis had wide sleeves and long skirts, which were not common in real life. At that time, ordinary shirts had narrow sleeves and long skirts, but not as long as those made specifically for dancing.[77]"Banbi(半臂)" is a tight-fitting, half-sleeved, wide-necked, short top that slightly exposes the chest. There are different types of neckline styles. The open neckline was popular during the heyday of the Tang Dynasty. It was originally worn by court concubines and gejis, and later by noble ladies.Gejis in the Tang Dynasty would also wear half-sleeve garments with pleated sleeves.There were dozens of types of dances in the Tang Dynasty, and gejis would wear different clothes and accessories when performing different dances.The "Jiaofang Ji(教坊記)" records the costumes of "Shengshouyue(聖壽樂)". The skirts of the gejis were all embroidered with a large flower. On the outside of the embroidered skirt, they wore a short shirt of the same color as the embroidered skirt. When the gejis appeared, the audience saw that they were wearing only a single-color dress. When they danced to the second fold, the gejis gathered in the middle of the stage, and immediately took off the shirts from their collars and put them in their arms.[78]The costumes for Tang Dynasty's vigorous dances(健舞) mostly had small sleeves to facilitate leaping and spinning, while the costumes for Tang Dynasty's soft dances(軟舞) mostly had large sleeves to show graceful and relaxed postures.[79]The Zhezhi dance(柘枝舞) of the Tang Dynasty was a Hu dance(胡舞). The gejis wore red or purple Luoshan and a Hu hat with golden bells on it. The golden bells were its characteristic. The gejis wore red brocade boots and long hanging belts, which formed the impression of the costumes of the Zhezhi dancing girls in the Tang Dynasty.[80]Famous poets in the Tang Dynasty often wrote poems and essays for gejis. They might write about what clothes a certain geji wore or what hairstyle she had. This would quickly spread, other women would follow suit and imitate the geji's dress.[81]

Song Dynasty gejis would wear the same clothes when rehearsing for group performances. For example, gejis would wear a light-colored tube-top dress with a red beizi(褙子) on the outside. Gejis would also wear a tube-top dress with a beizi of another color on a daily basis.The tube-top dresses worn by gejis would also have embroidered patterns, such as small golden phoenix patterns.Song Dynasty gejis would also wear flower crowns as headdresses, which were sometimes decorated with flowers.[82]Some gejis also wore shanzis(衫子) on top and trousers on the bottom instead of skirts.[83]The long silk scarf that women in ancient times draped over their shoulders and wrapped around their arms was called a shawl. In the Song Dynasty, shawls were initially worn by concubines and gejis. When they walked, they dragged two ribbons to add to the graceful beauty of women. Later, they gradually became part of the dress of women in the folk.[84]In the Yuan Dynasty, the "jacket and skirt" style of clothing was very popular among young women,gejis also liked to dress this way. Gejis wore short clothes on their upper body, called ru (襦), ao (袄), shan (衫) and skirts on their lower body. Gejis' clothing was mostly made of expensive silk fabrics, mostly made of gauze, brocade and silk.The hairstyle of Han people in the Yuan Dynasty generally followed the tradition of previous generations,they liked to pile up their hair in a bun. Gejis liked to comb their hair to the top of the head, comb it into one or several strands, and then coil it into various shapes. The hair combed to the top of the head was higher than the bun coiled behind the head, so it was called "high bun". "Cloud bun" was a popular style of gejis at that time.[85]In the early Ming Dynasty, it was stipulated that gejis were not allowed to wear fancy clothes and could only wear clothes of low-key colors.The gejis wore horn crowns and beizis, which had to be simple.The gejis in the palace had to wear more gorgeous clothes. Their clothes could have round collars made of blue silk. They wore black Tang scarves, with golden flowers embroidered on the bright red collars, gold-plated flower belts. They could also wear bright red silk headbands, blue-green silk painted cloud shoulders, gold-painted peony flower soap boots.[86][87]In the middle and late Ming Dynasty, the dress regulations for gejis were abolished, gejis began to lead the trend of women's clothing to a certain extent. Some gejis' clothing was mainly elegant, with exquisite details on the clothing.[88]In the middle and late Ming Dynasty, the ponytail skirt(馬尾裙) from the Korean Peninsula was introduced to the Ming Dynasty. Beijing's gejis were the first women to start wearing ponytail skirts, later women from other classes also began to wear ponytail skirts.[89]In ancient China, women could use veils such as weimao(帷帽)and muli(幕離) to cover their faces when they went out, gejis could also use these two to cover their faces.[90]

Makeup

change

Ancient geji were also good at applying makeup. Pang Sanniang(龐三娘), a geji in the Tang Dynasty, was old and had wrinkles on her face, but she was particularly good at applying makeup. She put a gauze on her face and then mixed mica powder and honey on it, making her skin look as smooth and white as a young girl.Yan Daniang(顏大娘), a geji in the Tang Dynasty, had ugly and slightly deformed eyes, but she was very good at applying eye makeup. She was able to use makeup to address the defects of her eyes and make her eyes look lively.[91][92]The geji of the Tang Dynasty painted themselves with light pink rouge, small red lips, and cute dotted mianyes(面靨).Mianyes usually painted on the dimples of the face, is also called zhuangye(妆靥). Court geji saw the round and cute red mianyes and would imitate them from time to time and use them as makeup. The shape of mianyes can be simple dots or gorgeous and beautiful like flower ornaments. Tang Dynasty geji wore high buns, their cheeks were as red as sunset clouds, and their lips were as red as peach blossoms.The custom of women wearing huadians(花钿) on their foreheads existed in the Qin and Han dynasties, but was most popular during the Tang and Five Dynasties. "Huadians" are a kind of makeup worn between the eyebrows. The geji of the Tang Dynasty had peach blossom jade faces and huadians between their eyebrows like dew.There were many kinds of eyebrow shapes popular among women in the Tang Dynasty, geji were also good at drawing eyebrows. Geji often had elegant postures and picturesque eyebrows.[93]During the Tang and Song dynasties, geji also studied lip makeup to some extent. Their lip makeup had different shades and depths, as well as different sizes and shapes. The fashionable lip balms that geji mastered at the time had different colors and scents according to different ingredients. They used these lip balms with ever-changing colors and scents to paint a variety of exquisite lip shapes.[94]The geji of the Song Dynasty were also good at drawing eyebrows. They liked to draw their eyebrows into the shape of delicate willow leaves, which were called "willow leaf eyebrows".[95]"Hua Zi(花子)" is a dian(钿), which is usually made into the shape of a flower, also known as "hua dian(花钿)". Yuan Dynasty Geji usually cut gold foil and paper into patterns and pasted them on their faces, which was called "tie dian(貼钿)".Ancient Chinese women often used various spices, the most famous of which was rose water(薔薇水), a strong perfume obtained by distilling rose flowers. It originated in Persia and Arabia and had entered China at least during the Five Dynasties, and was very popular among upper-class women and geji.Ancient Chinese people often admired and appreciated women's slender fingers. The slenderness and beauty of women's fingers were also for decorative reasons. Some geji would grow their nails long and take care of them frequently.[96]

Downfall

change

Decline

change

Geji were initially not involved in the direct sex trade, but rather were entertainers who performed music and arts, such as poetry, music and singing,[97][98] to please dignitaries and intellectuals.[54][55] They were respected and renowned for their art and education in the classics,[98] and were hired to perform to both male and female clients, as well as employed by the state.[54] After the establishment of the Qing dynasty in 1644, however, the geji were banned from being employed by the state.[54] During the Qing dynasty, although gejis were no longer employed by the state, the geji system still continued, and gejis and prostitutes maintained boundaries. Before 1860, there was still a system of teaching and performing gejis in society, watching geji performances was an entertainment activity for the wealthy. After 1860, due to the influence of social environment, the geji system began to disappear.[99][100] Prostitutes began to gradually replace geji, and prostitutes from the eight major alleys in Beijing became popular. Emperor Tongzhi of the late Qing dynasty went to visit prostitutes in Bada Hutong and died of syphilis at the age of 19.By 1865, a few geji and singing and dancing establishments were still operating. At this time, geji who could write traditional poems were already very scarce. Gejis who were still performing at the same time were also performing in song and dance venues and at parties invited by the wealthy. In order to cater to the remaining audiences, they began to include pornographic songs in their singing, and their clothes became more tacky. The remaining geji gradually chose to follow the patrons who liked them and quit the career of geji.[101]

Prostitute prevalent

change

During the Qing dynasty, there was a kind of female storyteller, also known as "Nv Tanci (女弹词)". They were not Gejis or prostitutes, and generally did not engage in prostitution. The female storyteller performs in the Shuchang (书场), plays and sings with her pipa, and tells Chuanqi (传奇) stories. Female storytellers have teachers who pass down their skills, and they learn their skills from an early age.[102] [103][104] In the early years of Xianfeng's reign, Zhu Sulan (朱素兰), a Geji, combined the careers of female storyteller and Geji,founded a "Shuyu (书寓)" in Shanghai. Zhu Sulan has very strict requirements for Gejis. They must have storytelling skills and be taught by teachers, and they tell about some books Chuanqi (传奇) stories. These Gejis tell Chuanqi stories, play the piano and sing, and they also entertain guests with drinks, but they do not engage in prostitution. Zhu Sulan's combination of the two professions was highly praised, and Shuyu (书寓) flourished for a while. In the early years of Tongzhi (同治), the Gejis Zhou Ruixian (周瑞仙) and Yan Lizhen (严丽贞) were popular. Zhou Ruixian is famous for saying "Three Smiles on Marriage (三笑姻缘)", but she can only tell half of it, while Yan Lizhen can tell all. When Zhou Ruixian got older, she trained young Gejis to get paid.[105][106] After the Taiping Rebellion, the Shuyu (书寓) industry has been transformed into prostitutes, and more prostitutes have entered this industry. After the 1870s, many Shuyus (书寓) moved to Shanghai's concessions, and prostitution became commonplace.[107][108]

During the late Qing dynasty and the Republic of China, due to the times, society as a whole fell into poverty, and the Geji culture could no longer sustain itself. During the late Qing dynasty and the Republic of China, there were a large number of prostitutes engaged in prostitution in China, and these prostitutes had different levels. The prostitutes combined the social function of the Geji with the career of a prostitute, further replacing the Geji in social functions.[109][110] Although prostitutes or Sing-song girls replaced the Geji, their skills were not as good as those of the Geji in the past. Prostitutes focus on accompanying customers with drinks. Prostitutes do not play chess or talk about poetry with their customers like Gejis. Instead, they play cards and mahjong with their customers. Prostitutes did not have much artistic skills, and the songs and dances they performed also contained more erotic elements, and they were unable to perform a complete repertoire.[111][112] Most prostitutes are illiterate and uneducated. Even high-class prostitutes rarely received education, and a few only received primary education and did not receive specialized poetry education.[113] At that time, many prostitutes gathered on boats on the water to engage in prostitution. After about 1889, Puji (濮姬), a Geji educated in singing and poetry, make a living in the prostitutes gathering area on the water. Puji acted alone and made a living by singing in the area as a Geji. She wrote a collection of poems, but few people appreciate her. Puji could no longer make a living just by singing. She also had to weave baskets to make ends meet, so she was not wealthy. Puji met Xie Xixun (谢锡勋), an imperial examination candidate during the Guangxu (光绪) period. Xie Xixun admired the poems written by Puji. Puji was married as a concubine by Xie Xixun and lived a stable life.[114] In the middle of the Guangxu period of the Qing dynasty, Gejis were once again trained in Beijing, and their residences were called Xiaobans (小班). But when the Boxer Rebellion (义和团运动)began, these Gejis scattered. Later, the brothels run by prostitutes continued to be named Xiaoban (小班) or Qingyin Xiaoban (清吟小班), and their occupation changed to prostitution, which was different from before.[115][116][117]

Sing-song girl

change
See the main article: Sing-song girls

Jiaoshu (校书) is an official position for men in ancient China,this word was not a derogatory term used for women in ancient China. Female Jiaoshu (女校书) was not a derogatory term in ancient China. In ancient China, it could be used to praise talented women among Gejis, or even to praise talented women among purdah women. Xue Tao (薛涛), a famous Geji, female poet and Qing guest (清客) in the Tang dynasty, was called the female Jiaoshu (女校书) because of her outstanding talent. This is an affirmation of Xue Tao's talent. After Xue Tao, talented Gejis were called "female Jiaoshu (女校书)". Xue Susu (薛素素), a famous Geji and female painter during the Ming dynasty, was known as the "Ten Talented Woman (十能才女)" and the "Female Jiaoshu (女校书)" because of her talent. Lin Xue (林雪), a Geji and female painter in the Ming dynasty, was called "Female Jiaoshu (女校书)" because of her excellent painting ability. Wang Wei (王微), a famous Geji and female poet in the late Ming dynasty, was also called "Female Jiaoshu (女校书)" because of her talent.[118] [119][120] Among the boudoir women, the talented Ban Zhao (班昭), Xie Daoyun (谢道韫) and Huang Yuanjie (黄媛介) are also called female Jiaoshu (女校书) because of their outstanding talents.[121][122] There were also a few prostitutes in ancient China who might call themselves female Jiaoshu (女校书), but this was not the mainstream.[123] Nv Shi (女史) was a female palace official in ancient China who was in charge of matters related to palace etiquette, writing documents, etc. The term Nv Shi (女史) is also a good name for intellectual women in ancient China. Dong Xiaowan (董小宛), a famous Geji in the Ming dynasty, was outstandingly talented. She was also a female poet, painter, Kunqu actor (昆曲演员), and even one of the top ten famous chefs in ancient China. Dong Xiaowan's nickname is "Qinglian Nv Shi (青莲女史)", which she took on because of her admiration for the Chinese Tang dynasty poet Li Bai (李白).[124][125] During the late Qing dynasty and the Republic of China, Geji culture declined. In order to promote themselves, high-class prostitutes or Sing-song girls called themselves "Jiaoshu (校书)" and "Ci Shi (词史)", even though most of them were uneducated, and the literate ones among them there is also not enough cultural level. At the same time, the brothel frequenters of these prostitutes also like to call them "Jiaoshu (校书)" and "Ci Shi (词史)" to show off.[126][127] The prostitutes in "Shuyu (书寓)" who turned into prostitution call themselves "Sir" or "Xiansheng (先生)", the first-class brothels are called "Changsan Shuyu (长三书寓)", and the first-class prostitutes are also called "Xiansheng". The reason why they are called Xiansheng is not because these prostitutes have a high level of education. "Xiansheng" is a method used by high-end prostitutes to improve themselves. It roughly means that they are a little educated and can sing and dance a little, they cannot be compared with low-level prostitutes who know nothing.[128] This is different from the traditional Gejis in ancient China, but during the Republic of China, many prostitutes and prostitute operators could call themselves singing girls or Gejis at will.[129][130]

Dancing girl

change
See the main article: zh:舞女 (中国近代)

In the early 1920s, commercial dance halls began to appear in Shanghai, and the profession of dancing girl appeared in the dance halls to accompany men in dancing.[131]The image and dancing skills of the Paramount dancing girls were the highest overall among the ballroom dancing girls at that time. Ballroom dancing girls not only provide backup dancers, but also provide entertainment activities such as accompanying customers to drink and party chat. Therefore, ballroom dancing girls have replaced high-end prostitutes in brothels in terms of social functions.[132][133]The dancing girls in the big ballroom are more similar to the gejis in ancient China than the prostitutes, but there are many differences between the two. Dancing girls do not need poetry or painting skills, chatting with customers focuses more on drinking. The dancing girls danced Western ballroom dances, while the ancient gejis performed Chinese classical dances. To a certain extent, dancing girls focus more on companionship, while ancient gejis focus more on performance. Gejis in ancient times needed to be trained from an early age, and the training took a long time. Dancing girls during the Republic of China usually received training for three or four months after they reached adulthood. Dancing girls in small dance halls during the Republic of China were usually prostitutes who had a low income and also engaged in prostitution to earn income. [134][135]

Taiwan Yidan

change

During the Qing dynasty in Taiwan, local geji in Taiwan were called Yidan(藝旦). Initially, there was not much difference between yidans and prostitutes. The formal distinction between yidans and prostitutes was during the Tongzhi period in Taiwan. With the development of trade in various places, merchants began to entertain guests, there were more and more restaurants. In addition to eating and drinking, there was also a need for some entertainment programs. After the port was opened to trade in the late Qing dynasty, the number of literati, wealthy businessmen and officials coming to Taiwan increased, the demand for entertainment and banquets also increased.Starting from the period of study, yidans performs in yidan rooms or in restaurants. Yidan also performs at temple fairs, private banquets, public events and other occasions outside restaurants. Yidans will perform traditional musical instruments such as pipa, sanxian and dulcimer, sing and dance, and recite poems to guests. Yidans also public performances of "yidan opera". Yidan also needs to go to sishu(私塾) to study and learn poetry culture. The hostess of yidan will ask teacher to teach yidan music theory and opera, such as teaching Nanguan or Beiguan. Yidan students must learn all the repertoire of "yidan song" and pass teacher test before they are qualified to become yidan. Famous Yidans in Taiwan include Wang Xiangchan, Chen Tian etc. This tradition of geji in Taiwan continued into Taiwan's post-war period. With the development of popular culture, Yidan gradually disappeared.[136][137][138][139]Record began to flourish in Taiwan in 1926, and music at this time was recorded by yidan.They were the first women in Taiwan to record music records at that time.[140]

 
The Yidans at the banquet at Jiangshanlou in Dadaocheng

The remain singing girl

change

During the Republic of China, a small number of singing girls made a living by singing in teahouses and restaurants. At that time, except for Taiwan, there was no relatively complete Geji system. Singing girls who work in teahouses and restaurants usually only need to learn the skills of singing and playing musical instruments. There are no cultural requirements, and they do not need to learn skills such as poetry, chess, paint and dance. There is a kind of Geji in the Qinhuai area of Nanjing, whose profession is singing. These Gejis used to be in teahouses, singing big songs and other songs. Later, singing girls were banned and were not allowed to sing in teahouses. These singing girls continued to sing on the Qinhuai River in boats known as "seven boards (七板子)". They always sat in front of the boats and did not engage in prostitution. There are musicians and others accompaniment in the boat, and there are about two singing girls in each boat. After dark, the boats of singing girls go about their business outside Dazhong Bridge, asking people passing by if they want to listen to music. There were also prostitutes engaged in prostitution on the boats on the Qinhuai River.[141] From the late Qing dynasty to the Republic of China, there was group of Tang Kou (堂口) in Guangzhou opened and run by wealthy "Shi Niang (师娘)" who specialized in adopting and training blind girl to learn arts. They taught them the skills of playing the piano, singing and divination, that they could sing for them in the future make money. Wealthy families often invite Shi Niang (师娘) to sing and entertain at their weddings. During the day and at night when there was no need for singing activities, Shi Niang also engaged in handicraft work at the teacher's house, such as weaving bamboo utensils and making yarn. Shi Niang (师娘) refers to a blind singing girl who makes a career of singing Cantonese songs, also known as "Gu Ji (瞽姬)". In the early days, most sang wooden fish songs, dragon boat songs, Nanyin songs, and Cantonese songs. By the late Qing dynasty, they mainly sang Cantonese songs. From the late Qing dynasty to before the May 4th Movement, Cantonese songs entered the "Shi Niang (师娘)" period. At the beginning of the 20th century, the teahouse in Xiguan, Guangzhou pioneered the Shi Niang (师娘) singing method of "one tea table and two chairs". As soon as this example was launched, teahouses in the Pearl River Delta region, Hong Kong and Macau followed suit.[142][143]

Around 1918, Nv Ling (女伶) normal vision began to sing on stage. The first Nv Ling (女伶) to sing on stage was Lin Yanyu (林燕玉), whose stage name was Feng Ying (凤影). She set a precedent for blind singing girl to sing with Nv Ling (女伶). Lin Yanyu turned out to be a young girl in a brothel,she was a singing girl who had not yet engaged in prostitution only entertained guests by singing songs. She left the brothel to make a living singing. Zhuo Keqing (卓可卿), a singing girl from the same background as Lin Yanyu, was also hired by the qutan (曲坛) to sing on stage. Some singing girls who originally sang provincial minor tunes and local folk arts also left their original environment and joined the folk arts team. This is the origin of "Nv Ling (女伶)". They gradually replaced the original "Shi Niang (师娘)" who sang ancient Cantonese song and became active In the emerging teahouse singing scene.[144] During the Republic of China, there were also singing girls sing popular songs in large dance halls or nightclubs. They are dancing girls in the dance hall, but because they are mainly responsible for singing in the dance hall, strictly speaking the title of singing girl is more appropriate.[145] During the late Qing dynasty and the Republic of China, there were three relatively well-known and relatively traditional Gejis,Yang Cuixi,Xiao Fengxian and Li Pingxiang (李苹香). During the late Qing dynasty and the Republic of China, there were very few traditional Gejis and they were no longer organized. Like Xiao Fengxian and Li Pingxiang, there are very few brothel girls who can escape prostitution.

Geji in ancient Chinese society

change

Nowadays, few people distinguish between gejis and prostitutes, thus causing some confusion between the two.In English, the English expressions for gejis and prostitutes in China are also relatively vague,both gejis and high-class prostitutes are called "courtesan".For example, the high-class prostitutes in the red light district of Pingkangfang in the Tang Dynasty were called "courtesan" in English, and the gejis in Jiaofang or song and dance venue in the Tang Dynasty were also called "courtesan" in English.Among the prostitutes in the late Qing Dynasty and the Republic of China, the Changsan class who took prostitution as their profession were also called "courtesan" in English.The next class of prostitutes with in the Changsan class is the Yaoer class, also known as "courtesan" in English.The novel The Sing-song Girls of Shanghai and the film Flowers of Shanghai are both about Changsan prostitutes, in English also use the word "courtesan".The word "singsong girl" comes from the Changsan prostitute and is not the real translation of the singing girl. However, now the word "singsong girl" is also used as the translation of the singing girl, so sometimes it may cause misunderstanding.[146][147][148]High-class prostitutes or famous prostitutes such as Sai Jinhua and Du Shiniang who are engaged in prostitution are called "courtesan" in English. Well-known gejis such as Eight Beauties of Qinhuai and Xue Tao who are engaged in performing arts are also called "courtesan" in English.Stories about gejis and prostitutes in ancient China are sometimes called "courtesan" stories. The story about the Geji The Tale of Huo Xiaoyu and The Peach Blossom Fan corresponds to "courtesan" in English, while the story about the high-class prostitute The Tale of Li Wa and “The Oil Vendor and the Queen of Flowers” also corresponds to "courtesan" in English.[149][150][151]Because both geji and high-class prostitutes can be called "courtesan" in English, it is sometimes easy to cause misunderstandings.In Chinese, the English word "courtesan" is often translated as "prostitute" in the Chinese language environment,so this can easily cause misunderstanding.[152]In ancient China, the functions of gejis and high-class prostitutes were different. For example, in the classical novel Dream of the Red Chamber, the functions of gejis were to sing classical songs, perform classical dances, and play musical instruments. High-class prostitutes serving the rich sang songs that tended to be erotic, accompanied men in drinking, and provided prostitution services to men.

Cultural influence

change

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.[153]

References

change
  1. ↑ "歌妓(Gējì)" (in Chinese). Retrieved 2024-09-25. 以歌唱维生的女子。唐．孟浩然〈春中喜王九乡寻〉诗：「当杯已入手，歌妓莫停声。」也作「歌姬」、「歌伎」。 [A woman who makes a living by singing. In the poem "In the spring, I was pleased to find Wang Jiuxiang" by Meng Haoran of the Tang Dynasty, it says: "When the cup has been put into the hand, the geji does not stop singing" Also known as "歌姬(Gējī)" or "歌伎(Gējì)".]
  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". Archived from the original on 25 September 2024.
  4. ↑ "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.
  5. ↑ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry" (PDF). Archived from the original (PDF) on 25 September 2024.
  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. ↑ "Lin Yutang: Courtesans taught Chinese people romantic love". Archived from the original on 25 September 2024.
  8. ↑ "NUO – THE NUO THEATER – THE NUO CULTURE". Archived from the original on 25 September 2024.
  9. ↑ China: Five Thousand Years of History and Civilization. City University of Hong Kong Press. 2007. p. 454. ISBN 978-962-937-140-1.
  10. ↑ "Portrait of the Worldly Affairs: Jiyue (Women Music) Dance". Archived from the original on 25 September 2024.
  11. ↑ "Women and the Guqin". Archived from the original on 25 September 2024.
  12. ↑ "Political and Musical Change in Early China: The Case of Chu" (PDF). Archived from the original (PDF) on 25 September 2024.
  13. ↑ "Traditional Chinese music and performance arts: Making sense of the sound". Archived from the original on 25 September 2024.
  14. ↑ Grinnell, Helen Dunn (1993). ""Yayue" Depicted on Ancient Chinese Bronzes". Ridim/Rcmi Newsletter. 18 (2): 39–48. JSTOR 41604981. Archived from the original on 25 September 2024.
  15. ↑ "Court Music of China, Japan and Korea" (PDF). Archived from the original (PDF) on 25 September 2024.
  16. ↑ 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.
  17. ↑ "Lyrical Voices of Women in Sixteenth and Seventeenth Century China". Archived from the original on 25 September 2024.
  18. ↑ "The identity and fate of ancient female musicians". Archived from the original on 25 September 2024.
  19. ↑ "Mochou Lake National Wetland Park". Archived from the original on 25 September 2024.
  20. ↑ Ai, Zhiping (2006). Yiji's poems and stories. Xuelin Publisher. pp. 22–23. ISBN 978-7807301707.
  21. ↑ "One Sight: The Han shu Biography of Lady Li" (PDF). Archived from the original (PDF) on 25 September 2024.
  22. ↑ "The Curious Case of Chinese Courtesan Culture". Archived from the original on 25 September 2024.
  23. ↑ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry" (PDF). p. 10.
  24. ↑ "The Origin and Nature of the "Nineteen Old Poems"" (PDF). Archived from the original (PDF) on 25 September 2024.
  25. ↑ "The legacy of palace poetry: virtual Beijing and Luoyang and emotional shaping" (PDF). Archived from the original (PDF) on 25 September 2024.
  26. ↑ "Analysis of Dance Forms and Cultural Factors of the Northern Dynasties in China" (PDF). Archived from the original (PDF) on 25 September 2024.
  27. ↑ "Courtesan Women in Chinese History from 618 - 1279". Archived from the original on 25 September 2024.
  28. ↑ 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.
  29. ↑ Ebrey, Patricia Buckley (1999). The Cambridge Illustrated History of China. Cambridge University Press. p. 120. ISBN 978-0-521-66991-7.
  30. ↑ "On the Characteristics of the Communication of Song Ci Geji". Archived from the original on September 25, 2024.
  31. ↑ "'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.
  32. ↑ "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.
  33. ↑ "The Elegance and Refinement of Song Dynasty Tea Culture (Part 2)" (in Chinese). Archived from the original on 25 September 2024.
  34. ↑ "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.
  35. ↑ Lee, Lily Xiao Hong;Wiles, Sue (2014). Biographical Dictionary of Chinese Women: Tang Through Ming. M.E. Sharpe. p. 522. ISBN 978-0765643162.{{cite book}}: CS1 maint: multiple names: authors list (link)
  36. ↑ "THE SWORD DANCE IN ANCIENT CHINA". Archived from the original on 25 September 2024.
  37. ↑ "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.
  38. ↑ "Exotic beauty Li Shishi". Archived from the original on 25 September 2024.
  39. ↑ "Yiji in the Yuan Dynasty and the Lyrics, Songs, Dances and Rap Arts". Archived from the original on September 25, 2024.
  40. ↑ "Qing Dynasty Popular Culture". Archived from the original on 25 September 2024.
  41. ↑ "Lotus Flowers Rising from the Dark Mud: Late Ming Courtesans and Their Poetry" (PDF). pp. 11–12.
  42. ↑ "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.
  43. ↑ "Li Yu's private opera troupe premiered in Xuzhou". Archived from the original on 25 September 2024.
  44. ↑ "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.)
  45. ↑ "CHINESE COURTESANS IN LATE QING AND EARLY REPUBLICAN SHANGHAI (1849-1925)-35 page" (PDF). Archived from the original (PDF) on 25 September 2024.
  46. ↑ "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.
  47. ↑ "CHINESE COURTESANS IN LATE QING AND EARLY REPUBLICAN SHANGHAI (1849-1925)-37 page" (PDF). Archived from the original (PDF) on 25 September 2024.
  48. ↑ Widmer, Ellen; Sun, Kangyi (1997). Writing women in late imperial China. Stanford (Calif.): Stanford university press. p. 61. ISBN 978-0-8047-2872-0.
  49. ↑ 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.
  50. ↑ "The love affair between the 《Jianglikan》lyrics and Chen Zilong and Liu Rushi". Archived from the original on 25 September 2024.
  51. ↑ "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.
  52. ↑ "A Study on the Regional Identity Culture of Ancient Chinese Beauties". Archived from the original on 25 September 2024.
  53. ↑ "Chapter 15: The Wooden Fish Gives New Sound". Archived from the original on 25 September 2024.
  54. ↑ 54.0 54.1 54.2 54.3 Precious Records: Women in China's Long Eighteenth Century
  55. ↑ 55.0 55.1 Ward, Jean Elizabeth (June 27, 2008). Li Qingzhao: an Homage to. Lulu.com. p. 108. ISBN 978-1435715134.
  56. ↑ "How to become a "fashionable cool girl" after traveling back to the Tang Dynasty". Archived from the original on September 25, 2024.
  57. ↑ "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.
  58. ↑ "Historical Topics of Female Painters in Jiaxing during the Ming and Qing Dynasties (Part 2)". Archived from the original on 2024-09-25.
  59. ↑ 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.
  60. ↑ "Li Xiangjun in Shangqiu". Archived from the original on 25 September 2024.
  61. ↑ 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.
  62. ↑ "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. Retrieved 26 September 2024.
  63. ↑ "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.
  64. ↑ "The talented women of Shu, Xue Tao is the most beautiful". Archived from the original on September 25, 2024.
  65. ↑ 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.
  66. ↑ "[Playing Go] The Ming Dynasty, a Time of Countless Famous Go Players". Archived from the original on September 25, 2024.
  67. ↑ "Han Yuesu: Delicate woman, famous seal engraver, bronze and stone appreciation". Archived from the original on September 25, 2024.
  68. ↑ "Clothing in the Spring and Autumn Period and the Warring States Period: Deep-collared clothing and Hu clothing, a hundred schools of thought in the clothing world". Sohu.
  69. ↑ "What were the main clothing styles during the Spring and Autumn Period and the Warring States Period".
  70. ↑ "战国来的断袖舞女".
  71. ↑ "A study of the Chu people's slim and beautiful fashion and clothing culture".
  72. ↑ "Appreciation of Women's Clothing in the Han Dynasty".
  73. ↑ "Han Dynasty women's clothing".
  74. ↑ "List of Clothing in the Han Dynasty".
  75. ↑ 《赵飞燕外传》:成帝于太液池作千人舟，号合宫之舟。后歌舞《归风》《送远》之曲，侍郎冯无方吹笙以倚后歌。中流歌酣风大起。后扬袖曰：“仙乎仙乎去故而就新宁忘怀乎？"帝令无方持后裙。风止裙为之绉。"他日宫姝幸者，或襞裙为绉号“留仙裙”。
  76. ↑ "Go back to the Sui Dynasty to watch the live performance! This band has its own "atmosphere group"".
  77. ↑ "广裁衫袖长制裙，金斗熨波刀剪纹——唐代女性服装".
  78. ↑ "Tang Dynasty Women's Clothing".
  79. ↑ "What are the characteristics and designs of Tang Dynasty dancing girls' costumes".
  80. ↑ "A look at women's clothing in the Tang Dynasty from the Complete Tang Poems".
  81. ↑ "穿越到大唐，如何成为一个"时尚酷女孩"".
  82. ↑ "The elegant costumes in "Qing Ping Le" show how women in the Song Dynasty dressed". Archived from the original on October 20, 2024.
  83. ↑ "History of Chinese Clothing/Clothing in the Song Dynasty (VI)". Archived from the original on October 20, 2024.
  84. ↑ "Illustrations of Women's Clothing in the Song Dynasty". Archived from the original on October 20, 2024.
  85. ↑ 浅析民族艺术乔吉杂剧中的歌妓服饰民俗·作者:郑深月·《青春岁月》2022年09期·中国知网·2022年
  86. ↑ 明史·卷六十七 志第43 舆服三:“宫中女乐冠服：洪武三年定制。凡中宫供奉女乐、奉銮等官妻，本色皪髻，青罗圆领。提调女乐，黑漆唐巾，大红罗销金花圆领，镀金花带，皂靴。歌章女乐，黑漆唐巾，大红罗销金裙袄，胸带，大红罗抹额，青绿罗彩画云肩，描金牡丹花皂靴。奏乐女乐，服色与歌章同。嘉靖九年，祀先蚕，定乐女生冠服。黑绉纱描金蝉冠，黑丝缨，黑素罗销金葵花胸背大袖女袍，黑生绢衬衫，锦领，涂金束带，白袜，黑鞋。教坊司冠服：洪武三年定。教坊司乐艺，青字顶巾，系红绿褡愬。乐妓，明角冠，皂褙子，不许与民妻同。”
  87. ↑ “赐友德宴，命叶国珍陪饮，拨与歌妓十余人。太祖令内官觇视，后国珍令歌妓脱去皂冠、皂揩子，穿华丽衣服混坐。太祖怒，令壮士拘执国珍，与妓妇连锁于马坊，妓妇劓去鼻尖。”(《国初事迹》)
  88. ↑ "A Probe into the Reasons of Women's Fashion Consumption in Jiangnan Area in the Mid- and Late Ming Dynasty". Archived from the original on October 20, 2024.
  89. ↑ 陆容《菽园杂记》：马尾裙始于朝鲜国，流入京师，京师人买服之，未有能织者。初服者惟富商、贵公子、歌妓而已。以后武臣多服之，京师始有织卖者，于是无贵无贱，服者日盛。至成化末年，朝臣多服之者矣。大抵服者下体虚奢，取观美耳。阁老万公安冬夏不脱；宗伯周公洪谟重服二腰；年幼侯伯、驸马至有以弓弦贯其齐者。大臣不服者惟黎吏侍淳一人而已。
  90. ↑ 《咏歌姬诗》·江洪·南北朝:“宝镊间珠花，分明靓妆点。薄鬓约微黄，轻红澹铅脸。发言芳已驰，复加兰蕙染。浮声易伤叹，沈唱安而险。孤转忽徘徊，双蛾乍舒敛。不持全示人，半用轻纱掩。”
  91. ↑ 唐·崔令钦《教坊记》:庞三娘善歌舞，其舞颇脚重，然特工装束。又有年，面多皱，帖以轻纱，妙用云母和粉蜜涂之，遂若少容。尝大酺汴州，以名字求雇。使者造门，既见，呼为“恶婆”，问庞三娘子所在。庞绐之曰:“庞三是我外甥，今暂不在，明日来此，奉留之”。使者如言而至。庞乃盛饰，顾客不之识也，因曰:“昨日已参见娘子阿姨”。其变状如此，故坊中呼为“卖假脸贼”。(Pang Sanniang was good at singing and dancing. She danced very well and was particularly good at makeup. When she was old, she had many wrinkles on her face. She put soft silk on her face, added mica powder and honey on her face, so she looked very young. Bianzhou was going to hold an event celebration, and heard of Pang Sanniang's reputation and wanted to hire her to perform. The messenger came to Pang Sanniang's residence, saw her, and directly said that she was an "evil woman" and asked where Pang Sanniang was. Pang Sanniang said: "Pang San is my niece. She is not at home today. You come again tomorrow and I will notify her." The messenger came again the next day. Pang Sanniang had already put on her makeup, and the customer did not know what she looked like originally, so he said: "I saw the girl's aunt yesterday." Her makeup skills were so great that she was called "the thief who sells fake faces" in Jiaofang.)
  92. ↑ 唐·崔令钦《教坊记》:有颜大娘，亦善歌舞，眼重、脸深，有异于众，能料理之，遂若横波，虽家人不觉也。尝因儿死，哀哭，拭泪，其婢见面，惊曰﹕“娘子眼破也！”(There was a lady named Yan, who was also good at singing and dancing. Her eyelids were very deep on her face, unlike most people, but she could use makeup to deal with this problem, so her eyes were lively and her family didn't notice it. Because her son died, she was crying and wiping her tears. Her maid saw her and said in surprise: "The lady's eyes are broken!")
  93. ↑ "What kind of makeup did women in the Tang Dynasty wear? Find the answer from the painted dancing girl figurines". Archived from the original on October 20, 2024.
  94. ↑ Meng Hui,88.
  95. ↑ Meng Hui,123.
  96. ↑ 浅析民族艺术乔吉杂剧中的歌妓服饰民俗·作者:郑深月·《青春岁月》2022年09期·中国知网·2022年
  97. ↑ "The Willow and the Flower". Temple Illuminatus. 4 February 2013. Retrieved 31 January 2018.
  98. ↑ 98.0 98.1 Harris, Rachel; Pease, Rowan; Tan, Shzr Ee (2013). Gender in Chinese music. Rochester, NY: Univ. of Rochester Press. p. 67. ISBN 978-1580464437.
  99. ↑ "《十叶野闻-四春琐谭五则》". Archived from the original on 15 October 2024.
  100. ↑ "1860年：英法联军只焚烧了圆明园吗？".
  101. ↑ "amous Chinese Daughters of the Past Dynasties Hua Yanfang". Archived from the original on 15 October 2024.
  102. ↑ 清稗类钞·音乐类·女弹词:“上海称女弹词曰先生，奏技于书场曰坐场，又曰场唱。开场各抱乐具，奏乐一终，急管繁弦，按腔合拍。乐终，重弄琵琶，则曼声长吟，率为七言丽句，曰开篇。其声如百啭春莺，悠扬可听。曲终，诵唐人五绝一首。说书时，口角诙谐，维妙维肖，以能描摹尽致，拟议传神者为贵。所虑者，不失之生涩，即流于粗疏，忘其为女子身也。”
  103. ↑ 清稗类钞·音乐类·女弹词:“女弹词皆有师承，例须童而习之。其后限制稍宽，有愿入者，则奉一人为师，而纳银币三十圆于公所，便可标题书寓，后并此银不复纳矣。及书寓众多，于是有每岁会书一次之例。会书者，会于书场而献技，各说传奇一段，不能与不往者，自是皆不得称先生，不得坐场。未几而此例亦废。”
  104. ↑ 清稗类钞·音乐类·女弹词:“妓席招弹词女至，不陪席，别设远坐，不敬烟，命女佣代敬。惟宴于其家，席无妓，始陪坐，曰堂唱，赉以银币二，独与客对，亦敬烟。凡此斤斤，盖其自处，即谚云卖口不卖身耳，然其中难言者亦颇有之。”
  105. ↑ 清稗类钞·音乐类·女弹词:“上海书寓创自朱素兰，久之而此风大著，同治初最盛。素兰年五十许，易姓沈，犹时作筵间之承应。继素兰而起者，为周瑞仙、严丽贞。瑞仙以说《三笑姻缘》得名，然仅能说其半，丽贞则能全演。惜兰摧玉折，遽赴夜台。瑞仙年逾大衍，犹养雏姬以博买笑赀。”
  106. ↑ "Shuyu woman,beautiful hongguanrens".
  107. ↑ 晚清·王延鼎日记《南浦行云路》:“自杭州至南昌沿途记听书，难后（灭太平天国后）女说书者风行与沪上，实即妓也，亦称先生。”
  108. ↑ 上海通志·第四十六卷特记 第五章烟、赌、娼 第三节娼妓·上海市地方志办公室主办
  109. ↑ "Shanghai's Porn Industry in the Late Qing Dynasty: The Collapse of the Old Qinglou Culture".
  110. ↑ Centenary of Zhang Ailing’s birth｜Reading "Flowers of the Sea" ③: Is there love in "Love in a Fallen City"
  111. ↑ "Centenary of Zhang Ailing's birth｜Reading "Flowers of Shanghai" ②: How much does it cost to drink flower wine in Shanghai in the late Qing Dynasty?".
  112. ↑ "Rehabilitation of prostitutes in 1949: Someone tried to strangle the instructor". Sohu.
  113. ↑ "Reasons for the prosperity of prostitute in Tianjin during the Republic of China".
  114. ↑ "Palindrome poems chanted by Puji".
  115. ↑ 清稗类钞·娼妓类一·京师之妓:“京师指妓馆所在地曰衚同。衚同者，火弄之音转耳。凡小巷皆曰衚同，而独以衚同为北里代名词，遂以游妓馆为逛衚同。又指妓馆曰小班。小班之名，起于光绪中叶，内城口袋底、砖塔衚同等志，均有蓄歌妓者，曰小班，以别于外城剧园名某班某班者云尔。自经庚子之乱，内城歌妓星散，而外城各妓馆遂沿袭其名，非十年前之旧也。”
  116. ↑ 清稗类钞·娼妓类一·京师之妓:“京师妓馆分三级，一等即小班，二等谓之茶室，三等谓之下处。此乃营业等级之区别，别有南帮、北帮之称，则地理上之关系也。妓寮向分南北帮，界限颇严，南不侵北，北不扰南。大抵南帮活泼，而不免浮滑，北帮诚实，而不免固执。南帮仪态万方，酬应周至，若北帮则床第外无技能，偎抱外无酬酢。顾亭林论社会情况，以「闲居终日，言不及义，好行小慧」评南人，以「饱食终日，无所用心」评北人，觏南北两帮之妓女亦犹是也。”
  117. ↑ 《孽海花》第三五回：“至於妓女，只有那三等茶室，上流人不能去。还没有南方书寓变相的清吟小班；有之，就从口袋底儿起。”
  118. ↑ 《明诗综》卷九十八：“薛五校书有十能，诗、书、画、琴、弈、箫、绣，而驰马、走索、射弹，尤绝技也。”
  119. ↑ 陈寅恪:柳如是别传·第三章(一) 参汪然明汝谦春星堂诗集贰绮咏载陈继儒序云:“又有二三女校书，如王修微林天素，才类转丸，笔能扛鼎，清言无对，诗画绝伦。”
  120. ↑ "Introduction by Xue Tao".
  121. ↑ 明·汤显祖《牡丹亭·第三出》：“怎念遍的孔子诗书，但略识周公礼数。不枉了银娘玉姐只做个纺砖儿，谢女班姬女校书。”
  122. ↑ 明·商景兰《赠闺塾师黄媛介》诗：“才华直接班姬后，风雅平欺左氏餘……今朝把臂怜同调，始信当年女校书。”
  123. ↑ 梁章钜《称谓录·倡》:“按《履园丛语》，吴门称妓女曰小姐。形之笔墨，或称校书，或称录事。有吴兴书客钱景开者，常在虎丘开书铺，能诗，尤好狭邪。花街柳巷每经其品题甲乙，多有赠句。袁简斋先生每邀景开为狎友，命之曰小姐班头。”
  124. ↑ 《周礼·天官·女史》：“女史掌王后之礼职，掌内治之贰，以诏后治内政。”
  125. ↑ "Sweeping the pen between the eyebrows to attack and cut poems: Appreciation of Dong Xiaowan's regular script poetry fan".
  126. ↑ 《游戏报》:“本报昨登张书玉校书家有客摆酒一节，今校书已移居东荟芳里，合为更正。俾问津渔父，不至误认。桃源按校书，本姑苏城外某村人，毋庸妓院挈之来沪，醴泉芝草本出小家，从弹词王松南习南词，工琵琶，一曲登场，歌喉宛转，颇能得抑扬之致。”
  127. ↑ 《游戏报》:“四马路一带书场林立，其生意最佳者，首推品玉楼、天乐窝两家，缘时髦唱曲倌人独多也。王秀兰、小如意等声价既高，及至登场亦复不苟，言不苟笑，以尊身份,听客亦因爱重之。”
  128. ↑ "Centenary of Zhang Ailing's birth｜A close reading of "Flowers of the Sea" ①: From Changsan's Shuyu to a big house in Hong Kong".
  129. ↑ "Unjust is doomed to destruction".
  130. ↑ "The first case of prohibition of prostitution in Nanjing". 13 June 2010.
  131. ↑ "An investigation into the income and influencing factors of dancing girls in Shanghai during the Republic of China——Also talking about the professional identity of Shanghai dancing girls during the Republic of China". Archived from the original on 15 October 2024.
  132. ↑ "The living style and group appearance of Chinese dancing girls in Shanghai during the Republic of China (1932-1937)". Archived from the original on 15 October 2024.
  133. ↑ "[Talking about Shanghai] The disappear profession—Shanghai dancing girl". Archived from the original on 15 October 2024.
  134. ↑ "Dance ban stirred up by frugal movement". Archived from the original on 15 October 2024.
  135. ↑ "The 1948 Shanghai Dancing Girl Parade that shocked the country". Archived from the original on 15 October 2024.
  136. ↑ 莊于寬(Chuang, Yu-Kuan) (2004). Musical activities of Taiwan Yidans in the 1930s - taking "369 Tabloid" as the main analysis document. 臺灣大學音樂學研究所學位論文 (Thesis). Vol. 2004. 國立台灣大學學位論文. pp. 1–148. doi:10.6342/NTU.2004.02466.
  137. ↑ "Are there geishas in Taiwan? Taiwanese Yidans who are performing arts but not prostitution". Archived from the original on 25 September 2024.
  138. ↑ "Preferred collection: Sing the song and the fireworks will disappear—Taiwan Yidan's career and life". Archived from the original on 25 September 2024.
  139. ↑ "[Yan Zhi You Wu] Flower Hall‧Restaurant‧Hoe Barbecue Party─Traveling through the late Qing Dynasty and the Japanese occupation period for a mea". Archived from the original on 25 September 2024.
  140. ↑ "Taiwan Record Development". Archived from the original on 25 September 2024.
  141. ↑ 《桨声灯影里的秦淮河》朱自清:秦淮河上原有一种歌妓，是以歌为业的。从前都在茶舫上，唱些大曲之类。每日午后一时起，什么时候止，却忘记了。晚上照样也有一回，也在黄晕的灯光里。我从前过南京时，曾随着朋友去听过两次。因为茶舫里的人脸太多了，觉得不大适意，终于听不出所以然。前年听说歌妓被取缔了，不知怎的，颇涉想了几次，却想不出什么。这次到南京，先到茶舫上去看看，觉得颇是寂寥，令我无端的怅怅了。不料她们却仍在秦淮河里挣扎着，不料她们竟会纠缠到我们，我于是很张皇了，她们也乘着“七板子”，她们总是坐在舱前的。舱前点着石油汽灯，光亮眩人眼目：坐在下面的，自然是纤毫毕见了─—引诱客人们的力量，也便在此了。舱里躲着乐工等人，映着汽灯的余辉蠕动着；他们是永远不被注意的。每船的歌妓大约都是二人；天色一黑，她们的船就在大中桥外往来不息的兜生意。无论行着的船，泊着的船，都是要来兜揽的。
  142. ↑ "Xiguan City Affairs丨"Shi Niang" and "Nv Ling" were active in the mature period of Cantonese song, and they can be seen everywhere in Xiguan".
  143. ↑ "Culture and entertainment - Foshan folk artists in the old society".
  144. ↑ "Cantonese song originated from Cantonese opera? No!".
  145. ↑ "Paramount's first Chinese jazz band".
  146. ↑ "Pioneering Nineteenth-Century Chinese Fiction: The Sing-Song Girls of Shanghai".
  147. ↑ 张爱玲《海上花开》：“吴语‘先生’（对高级妓女的称谓）读如“西桑”，上海的英美人听了误以为“sing-Song”，因为她们在酒席上例必歌唱；sing-song girl因此得名，并非‘歌女’译名。
  148. ↑ YEH, CV. Shanghai love : courtesans, intellectuals, and entertainment culture, 1850–1910. Seattle : University of Washington Press, c2006. pp. 21–95, 2006. ISBN 0295985674
  149. ↑ "Dylan Suher reviews Kong Shangren's The Peach Blossom Fan".
  150. ↑ "Ritual and Gender in the "Tale of Li Wa"".
  151. ↑ Lieu, Lorraine S. Y.; et al. (1978). "The Oil Peddler Courts the Courtesan". In Ma, Y. W.; Lau, Joseph S. M. (eds.). Traditional Chinese Stories: Themes and Variations. Columbia University Press. pp. 177–208. ISBN 0231040598.
  152. ↑ "Women and the Guqin".
  153. ↑ "International version of "Eight Beauties of Qinhuai" comes to Nanjing". Archived from the original on 25 September 2024.
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Geji&oldid=9837528"