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作 者:屠志芬[1] TU Zhi-fen(Institute of Art Studies,Jilin University of the Arts,Changchun 130021,China)
出 处:《北京舞蹈学院学报》2021年第4期6-12,共7页Journal of Beijing Dance Academy
摘 要:商乐舞作为先秦礼乐文明的重要组成部分,自20世纪初进入学者视野,至今已走过百年研究历程。20世纪前半叶,商乐舞与"巫"的关系受到关注,陈梦家《商代的神话与巫术》开启了利用甲骨卜辞研究商乐舞的序幕。1949年以后,伴随中国舞蹈史学的规划起步与繁荣发展,商乐舞研究亦向前开拓,1980—2010年间取得突破性进展:基于卜辞考索出更多的舞蹈名目;在"巫"与"舞"的关系问题上探讨得更为深入;对《大濩》与《桑林》做了初步考辩;对万舞进行了多角度阐释等。但整体来看,商乐舞仍属于舞蹈史研究中的难点和薄弱环节,同商代历史研究以及甲骨卜辞研究成果的累积速度相比亦明显滞后,且近十年尤为迟滞。商乐舞研究仍需立足基本的文献与文物资料进行细致梳理与考证,借助新材料与新方法求得进一步突破。Shang music and dance is an important part of the pre-Qin ritual and music civilization. It has been studied for a hundred years since it came into the view of scholars in the early 20 th century. In the first half of the 20 th century,the relationship between Shang music and dance and"witchcraft"received the academic attention. The Myth and Witchcraft of the Shang Dynasty by Chen Mengjia opened the prelude to studying its music and dance with oracle bone inscriptions. After 1949,with the planning and prosperity of Chinese dance history,the study of Shang music and dance also made headway during 1980—2010: more and more dance pieces have been found based on the oracle bone inscriptions;the relationship between "witchcraft"and "dance"has been further discussed;a preliminary textual distinctions between Da Huo and Sang Lin has been carried out,and Wan Dance has been interpreted from multiple perspectives. However,the music and dance of Shang dynasty is still a difficult point and a weak link in the study of dance history,and its cumulative speed of research findings apparently lags behind compared with the research achievements of the Shang Dynasty history and oracle bone inscriptions,especially in the past decade. The study of Shang music and dance still needs to be based on the basic documents and cultural relics for meticulous classification and textual research,and to achieve further breakthroughs with the help of new materials and methods.
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