论叔孙通制礼作乐兼采楚俗  

Shu SunTong gave Attention to the Conventions of Chu in turning Rites to Music

作　　者：王勇[1] 

机构地区：[1]湖南师范大学历史文化学院,湖南长沙410081

出　　处：《湖南科技学院学报》2007年第11期10-12,共3页Journal of Hunan University of Science and Engineering

基　　金：湖南省教育厅青年项目"楚文化与秦汉社会研究"(项目编号04B042)。

摘　　要：叔孙通制礼作乐大抵皆袭秦制,但自称"知时变"的他对习楚俗、乐楚声的刘邦不免会有所迁就,楚风楚俗因而大量融入了汉初礼乐制度。在汉初礼仪中可以显见楚人尚东、尚赤之习的影响,楚地旧祠的司命、东君、云中君等神祗皆被纳入了汉初的国家祭祀系统,楚声楚调也从荆蛮之地堂皇地进入了汉室正堂,与雅乐并见于汉初的宗庙乐章之中。Generally speaking, Shu Sun-Tong is followed the system of Qin dynasty when he turning rites to music. But, as a expediently man, he is unavoidable to indulge Liu-bang who is used to the conventions of Chu. So the conventions of Chu are melted into the system of ritual music in the initial stages of Hart dynasty. We can see the infection of upholding eastward and redness that are the conventions of Chu. The Si-ming, Dong-jun and many other deities that only feted by Chu at formerly become feted by the nation at the initial stages of Han dynasty. The tones of Chu is also appeared in the movement of ancestral temple get along with the tones of elegant at that time.

关 键 词：叔孙通 礼乐 楚俗 

分 类 号：K234[历史地理—历史学]