Chapter 53: The Qin King's Battle Music" and "The Rise of the Great Tang Dynasty" are in

Chapter 53: "Qin Wang Po Zhen Yue" and "The Great Tang Dynasty: Origins" Go Viral in Japan

For three consecutive days.

Cheng Sheng was either visiting neighbors or helping his parents water the vegetables in the fields, and then taking Qiao Shan to all the major mountain peaks in the village—commonly known as hiking for exercise.

Qiao Shan had truly gained weight. Fearing that Qiao Shan would become as obese as he was in the future, Cheng Sheng naturally wanted to take him on a weight-loss journey.

As for whether Qiao Shan actually wanted to do this, Cheng Sheng hadn't considered it at all.

Every time they returned from a hike, Qiao Shan was as exhausted as a dead dog.

This was all due to a lack of exercise.

In truth, Cheng Sheng wasn't much better than Qiao Shan; after all, having studied in the capital for years, he also lacked physical training.

Three days passed quickly.

Due to "Qin Wang Po Zhen Yue," the box office for the film "The Great Tang Dynasty: Origins" continued to explode, bolstered by the holiday season.

Everyone in the entertainment industry kept their eyes glued to the box office charts. Watching the numbers climb incessantly every day, they were all left dumbfounded.

A single movie of theirs might earn a few million in box office, yet the daily increase for "The Great Tang Dynasty: Origins" was more than the total box office of their entire films.

Jealousy and envy.

This was the sentiment shared by everyone in the entertainment industry.

Recently, another piece of news spread across the internet.

Japan wanted to lease the musical score for "Qin Wang Po Zhen Yue."

However, the request was rejected by the state.

Foreign museums may borrow Chinese cultural relics, but this is usually limited to short-term exhibitions and must be achieved through international cultural exchange and cooperation.

The history of Chinese relics being exhibited overseas dates back to the 1970s; for instance, the "Exhibition of Chinese Excavated Relics" traveled to many countries, attracting over 6.5 million visitors.

In recent years, the frequency of Sino-foreign cooperative exhibitions has increased.

But the request to lease the musical score of "Qin Wang Po Zhen Yue" was a first in history.

This showed just how much the score was welcomed in Japan.

A fragmentary version of "Qin Wang Po Zhen Yue" was currently held in a collection in Japan. The Chinese people harbored deep resentment toward this, as it was a national treasure that had been plundered by an ungrateful nation.

Now, things had changed—the state possessed the complete musical score, yet Japan still had the audacity to ask to lease it. It was simply shameless.

Many people in China hadn't even had the chance to see the complete score for themselves yet!

If it were leased out now, would Chinese citizens have to travel to Japan just to view it?

Therefore, the state naturally refused.

Such a national treasure was certainly prohibited from being exhibited abroad.

Having been rejected, the Japanese did not give up easily. They continuously submitted applications through Japan's cultural and tourism departments and museums, hoping to lease the national treasure.

As for why Japan was so obsessed with leasing the score, one had to trace it back to the fact that Nichia had purchased the distribution rights for "The Great Tang Dynasty: Origins" in Japan for five million USD.

After Nichia acquired the distribution rights, they did not release the film immediately.

Instead, they waited until Cheng Sheng successfully produced the music for "Qin Wang Po Zhen Yue," re-scored the film, and obtained a brand-new master copy. Only then, the day after Cheng Sheng's premiere, was the film released in major Japanese cinemas.

Japan is a nation that admires strength. If you were to ask which Chinese dynasty they admired most or which one they were most submissive to, it wasn't the Qing, the Ming, the Yuan, or the Song—it was the Tang.

The very title of the Japanese Emperor was learned from the Tang Dynasty.

When Li Zhi was referred to as "Emperor," the Japanese people began using the term "Tenno" accordingly.

When "The Great Tang Dynasty: Origins" was released across Japan, its performance on the first day was mediocre, earning only about 35 million yen, which converted to roughly 1.7 million RMB.

But as audiences finished watching the film, people began posting positive reviews online. Combined with endorsements from Japanese state media, the word-of-mouth exploded.

The whole world knows the heinous crimes Japan committed in modern history, and the Chinese people hold a deep-seated animosity toward them.

However, this also allowed the world to see how frenzied and obsessive the Japanese people could be.

Japan is a truly inscrutable place.

If you call them abnormal, they have their own set of rules; if you call them orderly, they always manage to come up with unexpected twists.

Perhaps the environment in that country is quite oppressive, and the daily pressure is so immense that they sometimes fall into a state of madness when they like something.

Once they fully fell in love with the film "The Great Tang Dynasty: Origins," the resulting frenzy was unimaginable.

The explosive word-of-mouth sent wave after wave of people into cinemas to watch the film, causing them to fall madly in love with everything in it.

The actors, the history, the costumes, the props, and so on.

Japanese media even conducted detailed analyses of everything in the film, discovering that the level of historical restoration was astonishingly high, as if it were the actual Great Tang Dynasty.

In particular, after hearing the music of "Qin Wang Po Zhen Yue" in the film, they—people born with an inherent sense of insecurity—felt a sense of submission in their hearts.

Yes, they were in awe of the Great Tang.

Historically, during the Qing Dynasty, the "Kang Ma Zi" (a derogatory term for the Qing rulers) once commented on Japan: "This nation and its people are fickle; they do not know gratitude or righteousness, only the awe of power."

Though these words were sharp, they captured certain characteristics of Japan at that time.

Ancient Japan learned Confucian culture from the Tang Dynasty, but due to its own national conditions, it only absorbed a portion of it—specifically the "reason/logic" aspect of "Benevolence, Righteousness, Propriety, Wisdom, and Trust"—while neglecting the other aspects.

Over time, Japanese society formed a strict structure.

When news broke that China possessed the complete musical score of "Qin Wang Po Zhen Yue," the entire country of Japan exploded.

In short, they wanted it.

But modern China was not the China of the past; one could not simply take what they wanted.

Since they could not seize it, they could only lower themselves to plead.

Thus, to satisfy the desires of the Japanese people, various major museums in Japan submitted applications to the National Museum of China, hoping to lease the score for exhibition in Japan.

After being rejected countless times, even the Japanese Prime Minister had to step in, hoping to complete this impossible task through diplomatic channels.

But the Chinese people themselves hadn't even finished viewing it; how could it be sent abroad for exhibition?

Rejected.

Everything was rejected.

Furthermore, "Qin Wang Po Zhen Yue" was officially listed as a national treasure prohibited from being exhibited overseas.

This instantly "killed" all hope for the Japanese people.

You want to see the score of "Qin Wang Po Zhen Yue"?

Fine!

Come to China.

As long as you pay, you can view it however you like.

It was only after the state issued the ban on overseas exhibitions that the passenger flow at the Capital International Airport suddenly increased several times over, and the foreign travelers were almost exclusively from Japan.

Clearly, these people were all coming for the musical score of "Qin Wang Po Zhen Yue."

The film "The Great Tang Dynasty: Origins" and "Qin Wang Po Zhen Yue" had gone viral in Japan, instantly becoming a topic of national conversation.

(End of Chapter)