论唐玄宗乐舞观及其文化意义

发布时间：2018-04-30 04:03

  本文选题：唐玄宗 + 乐舞观　； 参考：《北京舞蹈学院学报》2016年04期

【摘要】：唐玄宗的乐舞观是较为成熟的。在其统治的前期,他清晰认识到乐舞与政治的关系,能够灵活而节制地使用乐舞,使其对政治环境的稳定起到了积极的作用。作为唐代音乐造诣最高的帝王,玄宗对乐舞的艺术性有极深刻的认识。他不仅承认乐舞的娱乐作用,将其作为享受生活的重要方式,而且肯定乐舞自身的审美属性,使之从政治的附庸地位独立出来。唐玄宗乐舞观的文化意义在于两个方面。一方面,他能使乐舞为政治服务,成为巩固统治、促进君臣团结的手段;另一方面,他提高了唐代乐舞的艺术水平,推进了唐代胡汉文化的交流。
[Abstract]:Tang Xuanzong's view of music and dance is more mature. In the early period of his rule, he clearly realized the relationship between music and dance and politics, and was able to use music and dance flexibly and abstinence. He played a positive role in the stability of the political environment. As the supreme emperor of the Tang Dynasty, Xuanzong has a profound understanding of the artistic nature of music and dance. To recognize the entertainment function of music and dance as an important way to enjoy life, and to affirm the aesthetic attribute of music and dance, and to make it independent from the political appendage position. The cultural significance of Tang Xuanzong's view of music and dance lies in two aspects. On the one hand, he can serve the music and dance as a political service, become the means to consolidate the rule and promote the unity of the monarch and the officials; the other side, the other side. He improved the artistic level of music and dance in the Tang Dynasty and promoted the exchange of Hu and Han culture in the Tang Dynasty.

【作者单位】： 长江大学文学院;
【基金】：长江大学社科基金重点项目《楚地乐舞与神话之关系研究》(项目编号:2015csz002) 楚文化研究院开放式基金《荆楚传统乐舞的神话特性研究》(项目编号:CWH201511) 长江青年基金项目《楚地神话对楚乐舞审美特征的影响研究》(项目编号:2015cqn15) 长江青年科技团队基金项目《图像学研究》(项目编号:2015cqt05)的阶段性成果
【分类号】：J722.4
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本文编号：1822973