新出墓志与唐代乐舞  

A Study of the Newly Unearthed Epitaphs of Music and Dance in the Tang Dynasty

作　　者：胡秋妍 Hu Qiuyan(School of Humanities,Shanghai Normal University,Shanghai 200233,China)

机构地区：[1]上海师范大学人文学院,上海200233

出　　处：《浙江大学学报（人文社会科学版）》2022年第8期97-108,共12页Journal of Zhejiang University:Humanities and Social Sciences

基　　金：国家社会科学基金重大项目(14ZDB065)。

摘　　要：唐代乐舞是中国乐舞发展的鼎盛阶段,新出土墓志中出现了不少与乐舞相关的墓志,为我们研究唐代乐舞的体制、唐代乐舞从业者的身份、唐代乐舞的特点以及乐舞得以产生的社会背景与艺术氛围,提供了可以征信的原始材料。其重要内容包括五个方面:墓志中的乐府倚曲;墓志中的教坊梨园;墓志中的唐代乐籍;墓志中的乐舞技艺;乐舞女子的身份命运。这些内容与传世文献相互参证比照,可以促进中国音乐史与中国舞蹈史的深入研究。The music and dance of the Tang Dynasty was the heyday of the development of music and dance in China. Among the newly unearthed gravestone epitaphs, many are related to music and dance,which provide us with original materials to study the system, the identity of the practitioners, the characteristics of music and dance in the Tang Dynasty, and the social background and artistic atmosphere in which music and dance were produced.The music in the gravestone epitaphs shows that a man named Li Chengxia was five years old when he played “damozhi”, “wuchou” and other songs. He was taught by Wang Changtong at the age of seven to play music and Kucha Buddhist songs, indicating that before the ten yuebu were formulated in the early Tang Dynasty, nine yuebu of the Sui Dynasty were still being followed, among which Kucha music was the most important, and Wang Changtong was an important figure in playing Kucha yuebu.Therefore, the gravestone epitaph mentions twice that Wang Changtong taught Li Chengxia music.Of the gravestone epitaphs of the Imperial Music Office and the Pear Theatre among the Tang Dynasty’s music and dance institutions the most important is the Pear Theatre and the Imperial Music Office. The two are both related and different. “The Gravestone Epitaph of Zhang Jian” written by Zhang Yuansun records his experience of serving in the Pear Theatre. Zhang Jian was good at yuefu and singing. He traveled in the local Fanzhen shogunate. He served in the first department(diyibu) of the Pear Theatre, the highest department, by the order of Emperor Muzong of the Tang Dynasty. It is clear that Zhang Jian was quite valued by the court. “The Gravestone Epitaph of Cao Qianlin” records that Cao was recruited by the inner court, becoming one of the Pear Theatre artisans. After the An Lushan rebellion, Cao left the court, sojourning in the Jiangnan region and serving the Huaixi shogunate. Cao remained emotionally attached to the Pear Theatre throughout his life time.The music registration in the gravestone e

关 键 词：新出墓志 唐代乐舞 教坊梨园 乐府倚曲 乐籍 

分 类 号：I206.2[文学—中国文学] K244[历史地理—历史学] K877.45[历史地理—中国史]