娱神与娱人的融合——从楚国“虎座立鸟架鼓”窥探先秦礼乐制度的世俗化转向  

The Integration of Entertaining God and People:On the Secularization of the Rites and Music Principals in the Pre-Qin from Tiger-Base and Bird-Frame Drum of the Ancient State of Chu

作　　者：张宗登[1] 韩莉[1] ZHANG Zongdeng;HAN Li(College of Packaging Design and Art,Hunan University of Technology,Zhuzhou 412007,China)

机构地区：[1]湖南工业大学包装设计艺术学院,湖南株洲412007

出　　处：《湖南工业大学学报（社会科学版）》2023年第1期117-124,共8页Journal of Hunan University of Technology(Social Science Edition)

基　　金：湖南省教育厅重点项目“人类学视野下楚国乐器设计研究”(19A129)。

摘　　要：虎座立鸟架鼓是楚国工匠依据当时的工艺技巧、审美意识而创作的一种击打乐器,是礼乐制度从规范化到世俗化演化过程中的产物。以虎座立鸟架鼓为观照对象,可窥探先秦时期礼乐制度的规范化、多元化、世俗化的演变历程。虎座立鸟架鼓从庄重到新奇的器型演变,从“夏黑殷白”到“尚朱尚赤”的色彩演变,从“娱神”到“娱人”的功能演变,证明了先秦时期礼乐制度的世俗化转向。东周时期音乐文化由“朝”向“野”、由“神”向“人”演变的进程,促进了不同阶层乐享方式的交融,也促进了乐器类型的多元发展与创新。Tiger-base and bird-frame drum,a percussion instrument created by the artisans of the ancient state Chu in accordance with the craftsmanship and aesthetic sense of that time,is the product of the evolution of rites and music system from standardization to secularization.This article takes Tiger-base and bird-frame drum as the observation object,which combs the evolution of the standardization,diversification and secularization of rites and music system in the pre-Qin period.The secularization frites and music system is substantially demonstrated in the transformation of the drum from solemn to novel shape,from black to white and finally to red in its colour,and from“entertaining gods”to“entertaining people”it its function.It further clarifies that the evolution of music culture in the Eastern Zhou Dynasty from“the court”to“the commonality”,and from“God”to“Human”promotes the integration of different classess of music enjoyment,and also advances the diversification and innovation of musical instrument.

关 键 词：虎座立鸟架鼓 礼乐制度 娱神 娱人 世俗化 

分 类 号：TB482[一般工业技术—包装工程]