The Transmission of Central Asian Music to the East in the Medieval Period: The Case of the Pipa Lute Xu Duo [徐多] ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 17 (2026) https://doi.org/10.30819/aemr.17-02     pp: 17-32     2026-06-03

The Transmission of Central Asian Music to the East in the Medieval Period: The Case of the Pipa Lute

Stichworte/keywords: Central Asia, music expansion, medieval time period, lutes, pipa

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Abstract
This paper examines the transmission of Central Asian musical traditions to East Asia during the medieval period, with a particular focus on the pipa lute. Although the pipa is now widely regarded as a quintessential Chinese instrument, early archaeological evidence from the Central States shows no trace of such lutes in early court music. This absence implies that the pipa was not originally part of early Chinese musical practice but was introduced later via cross-cultural exchange. Drawing on both textual and material evidence, this study traces how Central Asian music was gradually incorporated into Chinese court culture from the Han dynasty onwards. Historical records detail diplomatic missions, military expansion, and the movement of musicians from the Central Asian Regions to the Central States, culminating in the formal integration of foreign musical traditions into the Sui and Tang court through multi-ethnic ensembles. These performances, often staged in politically significant settings, fulfilled not only entertainment but also diplomatic functions. Material culture, including mural paintings from the Kucha region, archaeological finds such as the Damagou lute, and preserved instruments in the Shōsō-in repository in Japan, further demonstrates the diversity and evolution of lute types transmitted across Central Asia and into East Asia. Furthermore, the discovery of musical manuscripts from Dunhuang and Japan provides evidence for the development of lute notation systems, reflecting the incorporation of foreign instruments into the Chinese writing tradition. By synthesizing textual, visual, and archaeological evidence, this paper argues that the transmission of the pipa was part of a broader process of cultural exchange facilitated by political expansion, religious networks, and diplomatic interactions. The Tang court, in particular, served as a key hub in this process, enabling the adaptation of Central Asian musical practices into an integral element of the East Asian musical landscape.