Buddhist music is an important part of Chinese music culture and a valuable cultural heritage of the Chinese nation. Buddhism is a religion and music is an art. The spread of Buddhism takes music as a medium. After Buddhism was introduced into eastern China, its music became popular all over the world, and its appeal and communication function were stronger than other arts. At the same time, the unique charm of Buddhist music is very consistent with people’s psychology of religious worship and praying for happiness. Its sound is fresh and elegant, extraordinary and refined, its rhyme is remote and deep, the singer’s body and mind are one, and the things and I forget; The listener is suddenly open-minded, wandering and moved, which purifies people’s thoughts and carefully appreciates the true meaning of life in the curling sound.

The history of Chinese Buddhist music can be roughly divided into four classes: first, the stage of “Westernization” in the early stage of Buddhism; 2、 The North China and diversification stage from the Eastern Jin Dynasty to Qi and Liang dynasties; 3、 The prosperous and stereotyped stage of the Tang Dynasty; 4、 From song and Yuan Dynasties to modern times, it was in the stage of popularization and decline.

In the Tang Dynasty, Buddhist music flourished, popular and popular. The court was obsessed with Buddhist music, and the people regarded the temple fair as the most important place of entertainment. In the Tang Dynasty, the music of temples, palaces, folk and Buddhism reached its peak.

In the early Tang Dynasty, he was good at guiding and preaching the pure land Dharma, but he focused on chanting Buddhism. He has written three volumes of praise, such as praise for Dharma, praise for past life and praise for like a boat. Tang fazhao formulated the laws and regulations on “chanting Buddha in five sessions” and wrote songs such as “scattered flower music”, which has a far-reaching influence. The songs around Buddha such as “thousand sound Buddha” which have been handed down so far can be regarded as the continuation of the “five sessions”. In the late Tang Dynasty, Shaokang found a new way to face the folk and create new Buddhist songs on the basis of folk music.