论唐玄宗乐舞观及其文化意义  

The Orchestic and Musical Perspectives of Emperor Xuanzong of the Tang Dynasty and its Cultural Significance

作　　者：杨名[1] 

机构地区：[1]长江大学文学院,荆州434023

出　　处：《北京舞蹈学院学报》2016年第4期53-58,共6页Journal of Beijing Dance Academy

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

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。The Orchestic and Musical Perspectives of Emperor Xuanzong of the Tang Dynasty were mature relatively. In the early stage of his reign,Xuanzong had a clear and full understanding of the relationship between the music and dance and the politics.Therefore,he was able to use the dance and music flexibly and temperately,which plays an active role in political stability. As an emperor of the Tang Dynasty who has considerable attainments in music and dance,Xuanzong possessed a profound knowledge on the artistry of music and dance. He admitted the function of entertainment of the music and dance,and regarded them as an important lifestyle of joy of living. Moreover,he approved the esthetic properties of music and dance,and brought the music and dances to the fore form a vassal of the politics. The cultural significance of the orchestic and musical perspectives of Emperor Xuanzong consist of two aspects. Firstly,music and dance were created for serving the politics,and were calculated to solidify and stabilize his rule and promote the unity of emperor and his ministers. On the other hand,he enhanced the artistic level of music and dance,and promoted the cultural exchange of Hu and Han in the Tang Dynasty.

关 键 词：唐玄宗 乐舞观 文化意义 

分 类 号：J721.1[艺术—舞蹈]