“纯粹秩序”—唐雅乐舞研究

发布时间：2018-03-26 10:41

本文选题：唐代　切入点：雅乐　出处：《武汉大学》2017年硕士论文

【摘要】：乐舞从来都不是独立的一门艺术,而是国家礼仪制度的一部分,虽然有部分娱乐的功能,但更重要的是,它是王朝秩序的稳定剂和润滑剂,以视听的直观感受宣示权威、展现秩序、传递价值观。乐舞作为国家仪式的一部分,它的意义就不仅是美学上的,还有政治意涵。唐代是中国历史上音乐文化发展的高峰时期,雅乐(ritual music)制度在经历了汉末至隋长达三百多年的混乱之后,终于在隋朝得到了一个初步的整备和统一,而唐代继承了隋代的雅乐制度,并将其进一步完善和加以创作。唐代雅乐舞包括祭祀舞乐和宴飨舞乐两类,祭祀舞乐以文武二舞为代表,而宴飨雅乐则以"九部伎"和"坐立部伎"为代表。而唐代的文武舞经过数次变动和调整,自太宗朝制定之后,高宗朝便试图改易,经历武后的陵替,最后在玄宗朝才形成最终的定制。而九部伎、二部伎则是隋唐时期宴飨雅乐的新创造,将四夷乐程序化和仪式化,并发展出了一系列的政治乐舞,使宴飨雅乐在娱乐的性质之外,增加了深刻的政治内涵。礼记云"乐与政通",乐舞制度的制定和行用,背后必然是政治因素在主导,本文通过对唐代祭祀仪式中的"文武二舞",以及宴飨仪式中的九部伎、坐立部伎乐舞的考证作为出发点,讨论它们在各自行用的仪式中的象征功能,考察它们在创制时被赋予的政治意义,以及在礼仪空间的构建中所发挥的作用。祭祀仪式中的雅乐舞,和宴飨(宴会)时的雅乐舞分别构成了"天-君-臣民"与"君-臣民-四夷(minority nationality)-万物"的礼仪秩序,即"以皇帝为中心的同心圆"。
[Abstract]:Music and dance have never been an independent art, but a part of the national etiquette system, although it has part of the function of entertainment, but more importantly, it is the stabilizer and lubricant of the dynasty order, declaring authority with audio-visual intuitionistic feelings. As part of the national ceremony, the significance of music and dance is not only aesthetic, but also political. The Tang Dynasty was the peak of the development of music and culture in Chinese history. After more than 300 years of chaos from the end of the Han Dynasty to the Sui Dynasty, the system of elegant music was finally prepared and unified in the Sui Dynasty, and the Tang Dynasty inherited the elegant music system of the Sui Dynasty. In the Tang Dynasty, there were two kinds of music: sacrificial dance and banquet dance, and the sacrificial dance was represented by Wenwu two dances. On the other hand, the banquet was represented by "Nine Kabuki" and "sitting Li-part Kabuki". After several changes and adjustments in the Tang Dynasty, after the formulation of the Taizong Dynasty, Gao Zong tried to change his position and went through the imperial mausoleum. Finally, it was only in the Xuanzong Dynasty that the final customization was formed. And nine pieces of kabuki and two pieces of kabuki were the new creation of banquet and elegant music in the Sui and Tang dynasties. The four Yi music was programmed and ritualized, and a series of political music and dance were developed. In addition to the nature of entertainment, it adds profound political connotations. In the book of Rites, "Music and political Communication", the formulation and practice of the music and dance system must be dominated by political factors. This paper discusses their symbolic functions in the ritual of sacrifice in the Tang Dynasty, as well as the nine pieces of jiuki in the banquet ceremony, and the textual research on the Jiyue dance in the sitting part. Examine their political significance when they were created, as well as their role in the construction of ceremonial space. The elegant dance of dinner (banquet) constitutes the ceremonial order of "Heaven-King-subject" and "King-subject-four Yi minity", that is, "concentric circle centered on the emperor".
【学位授予单位】：武汉大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：K242;K892.9

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