The Buddhist music of Beiwudang Temple, which is spread in Pingluo County, Shizuishan City, Ningxia Hui Autonomous Region, was selected as the second batch of national intangible cultural heritage list in 2008, along with the Buddhist chanting of Tianning Temple, the Buddhist chanting of Yushan, the Buddhist music of Daxiangguo Temple, the music of Zhikong Kagyu Sect, the Buddhist music of Labrang Monastery, and the Tibetan chanting tunes in Qinghai. Beiwudang Temple is located at Jiuquankou of Helan Mountain, about 5 kilometers northwest of Dawukou District, Shizuishan City, Ningxia Hui Autonomous Region. It is also known as Shoufo Temple. The monks belong to the Linji Sect and it is the largest permanent temple for descendants in Ningxia. Its temple music has a deep origin with the Buddhist music of Tanzhi Temple in Beijing. The northern rhyme followed by the temple music of Beiwudang Temple is mainly based on the Buddhist music spread in the Beijing area. It is said that there were often eight temples chanting sutras in the imperial palace of the Qing Dynasty. After the Eight-Power Allied Forces entered Beijing, when Empress Dowager Cixi fled to Xi'an, the civil and military officials could not protect themselves, let alone the monks who had left home. Among the monks who fled to Xi'an, there was a Vinaya master (responsible for presiding over the pitch, speed and slowness of the rhyme) of the Eight Great Temples. When he arrived in Ningxia, he stayed there and did not follow Empress Dowager Cixi back to Beijing. The Vinaya master who stayed in Ningxia changed his name to Master Changrui. He was proficient in playing, beating, writing and reciting. It can be said that it was Master Changrui who brought the popular Buddhist music in Beijing at that time, namely the northern rhyme, to Ningxia. Master Changrui who stayed in Ningxia had served as a tutor at Yinchu Puji Temple and also tutored at Wudang Temple. Master Guangyu of Wudang Temple also had an indissoluble bond with the Eight Great Temples in Beijing, and made contributions to promoting the northern rhyme and inheriting the "Zha Zhazi". It is said that when Master Guangyu was ordained in Beijing, he followed the abbot of Tanzhe Temple to recite the Peacock Dead Sutra. At that time, Empress Dowager Cixi specifically asked to listen to the Peacock Sutra, but no one around her could recite it. Master Guangyu volunteered to give it a try. After he finished reciting the Peacock Sutra, Empress Dowager Cixi was very happy and wanted to keep him in Tanzhe Temple. But Guangyu was unwilling to stay and eventually returned to Wudang Temple. The temple music of the Northern Wudang Temple has formed a strong musical feature due to the integration of folk songs and minor tunes, the polishing of court music, and the mutual penetration of the singing styles of northern and southern Buddhism. It has been passed down to this day by successive monks such as Master Liyi in the late Ming and early Qing dynasties, Master Xinxi in the reign of Emperor Kangxi of the Qing Dynasty, Master Ji Nian in the late Qing Dynasty, and Master Xu Zao, and has been passed down through oral transmission and heart-to-heart teaching, and has spread throughout Ningxia, Dengkou in Inner Mongolia, Pingliang in Gansu, and western Shaanxi. The scores of the temple music of the Northern Wudang Temple were recorded using the ancient Chinese notation method of "gongche notation"; while the martial music was also recorded using an ancient Chinese vertical notation method for percussion instruments, also known as "Zhazhazi", which is the most valuable part of the Buddhist music of the Northern Wudang Temple. The Shoufo Temple of the Northern Wudang Temple originally preserved more than 800 Buddhist music gongche notations and more than 300 "Zhazhazi" scores. Now only dozens of commonly used scores passed down by teachers and disciples remain. "Zhazhazi" is a notation method other than the ancient "gongche notation" in my country. It is a special recording method used to record the rhythm, notes, and types of instruments of music. Unlike the simplified notation and the five-line notation, it uses a vertical notation method, using different symbols to represent different instruments, and the distance between the symbols indicates the length of the time value. "Zhazhazi" is combined with the gongche notation. The gongche notation only records the scale in the music, while the zazhazi can record the length of the beat in the music. Only when the two are combined can a complete music score appear. The survival of "Zha Zha Zi" proves that the ancient Chinese Buddhist music (percussion) notation method has not disappeared. With its unique and self-contained notation method, it proves and records the Buddhist music of Shoufo Temple in Beiwudang Temple, and has high academic research value and historical and cultural value for the study of Buddhist music. When playing temple music in Beiwudang Temple, one person usually plays one instrument, and the monks play and chant together with other instruments such as chanting, flute and sheng. It is mainly used for consecration rituals and large-scale activities (such as welcoming 0 masters, VIPs, etc.). (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)