中日《兰陵王》流变考论与补说  

Evolution of The Prince of Lanling Between China and Japan

作　　者：范舟 郦文曦 FAN Zhou;LI Wen-xi(Zhejiang Conservatory of Music,Hangzhou 310024;China Academy of Art,Hangzhou 310024,China)

机构地区：[1]浙江音乐学院舞蹈学院,杭州310024 [2]中国美术学院建筑艺术学院,杭州310024

出　　处：《北京舞蹈学院学报》2022年第3期40-49,共10页Journal of Beijing Dance Academy

基　　金：教育部人文社会科学研究青年基金项目“中日舞蹈交流史研究”(项目编号20YJC760018)阶段性成果。

摘　　要：目前关于《兰陵王》的研究不在少数,文章在综述现有成果的基础上提供新的补充论点,以期深化这一领域的研究。20世纪开始,关于日本舞乐《陵王》的来源有“中国说”与“林邑说”二论,文章在梳理现有争论后,补充关于“中国说”主张的理由。在此基础上,通过对中日两国文献的考辨论述以下内容:第一,考证中国《兰陵王》形态的演变,即北齐军乐—唐民间散乐—唐教坊散乐这三个流变过程;第二,考证《兰陵王》东传日本的时间、东传者、东传时的作品性质等问题;第三,从国风化、安定化、近代化三个阶段论述《兰陵王》进入日本之后的流变情况。At present,there are many studies on The Prince of Lanling.Based on reviewing the existing achievements,this paper provides new supplementary arguments to deepen the research in this field.Since the 20th century,there have been two statements about the origin of Japanese dance music Ryōō(The Prince of Lanling),namely“Chinese origin”and“Linyi origin”.After summarizing the existing arguments,this paper provides the reasons for supporting“Chinese origin”.On this basis,the paper discusses three following aspects by textual research on the Chinese and Japanese literary documents.First,it argues that the forms of Chinese The Prince of Lanling changed from the military music of Northern Qi Dynasty,to the folk music of Tang Dynasty and then the royal music of Tang Dynasty.Second,it explores the time,and disseminator and its nature when The Prince of Lanling spread to Japan.Third,it expounds that evolution of Ryōōafter entering Japan experienced the three stages of localization,stabilization and modernization.

关 键 词：《兰陵王》 《陵王》 流变 唐散乐 日本舞乐 

分 类 号：J709[艺术—舞蹈]