摘要
刘勰的《文心雕龙》以儒家思想为基础,“乐教”作为儒家思想的重要内容在《文心雕龙》中有明显的体现,这集中反映在《乐府》一文之中。在《乐府》中,刘勰系统地阐述了他的音乐观,表现出对雅乐的推崇与对俗乐的排斥。我们对刘勰音乐观的理解必须置于“礼乐文化”的背景之下,如此方能理解其乐府理论的内涵。通过对此篇的分析,我们发现刘勰所推崇的音乐观,源于中国传统文化中“礼乐相须以为用”的礼仪用乐土壤,强调音乐所具有的政教功能,是对先秦音乐政教功能的继承。
The masterpiece of Wenxin diaolong(The Literary Mind and the Carving of Dragons)by Liu Xie is based on Confucianism.As an important part of Confucianism,the education of music is reflected in this book,which can further find its best expression in the article titled Yuefu(a loose bibliographical term for a wide range of texts related to musical performance).In this article Liu Xie interpreted his systemic views of music,admiring ceremonial music and rejecting popular music.In order to understand his viewpoint,we must weigh in on the background of etiquette and music culture.Through the analysis of this article,it is found that Liu Xie’s viewpoint of music originate from the ritual music system of ancient Chinese culture which was inherited from the Pre-Qin era.
作者
李敦庆
LI Dunqing(School of Humanities,Nanyang Normal University,Nanyang Henan 473061,China)
出处
《南都学坛（南阳师范学院人文社会科学学报）》
2020年第1期54-59,共6页
Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University
基金
国家社会科学基金青年项目“仪式理论视域下的魏晋南北朝五礼用乐研究”,项目编号:15CZW019
关键词
《文心雕龙》
乐府
雅乐
俗乐
礼乐文化
Wenxin diaolong(The Literary Mind and the Carving of Dragons)
Yuefu
ceremonial music
popular music
etiquette and music culture
