仪式剧视阈下的杜甫“三大礼赋”  

Du Fu's Theory of"Sandali Fu"from the Perspective of Ritual Drama

作　　者：王淑君 杨宝春[1] WANG Shu-jun;YANG Bao-chun(School of Literature and Journalism,Qingdao University,Qingdao 266071,Shandong)

机构地区：[1]青岛大学文学与新闻传播学院,山东青岛266071

出　　处：《商洛学院学报》2024年第3期51-57,共7页Journal of Shangluo University

摘　　要：天宝九载(750),杜甫预献“三大礼赋”,包括《朝献太清宫赋》《朝享太庙赋》《有事于南郊赋》。这些作品以浪漫的文学想象描述了唐玄宗祭祀老子、祖先和天地神的活动,实际是唐代祭祀仪式的文学呈现。在“三大礼”祭祀中,鬼神信仰、仪轨流程、礼乐教化等元素共同作用于整个祭典过程,明显展现出后世戏剧的种种特质。“三大礼”祭祀的目的在于祈福于天和宣扬正统,其表演以庄严的动作流程感召观看者,相当于一场官方仪式剧,展现出古代礼乐文化的教化作用。In the ninth year of Tianbao(750),Du Fu prepresented"Sandali Fu",including Temple of Taiqing Fu,Temple of Taimiao Fu and Temple of Nanjiao Fu,which romantically described the activities of Emperor Xuanzong in Tang Dynasty to worship Laozi,ancestors and gods,and actually represented the literary presentation of the sacrifice in Tang Dynasty.The belief in gods,ritual process,ritual cultuer education and so on displayed in the sacrifice of"Sandali Fu"really show the various characteristics of the later drama in the whole process of the sacrifice.The purpose of this sacrifice is to pray for heaven and promote orthodoxy.The performance inspires viewers with a solemn movement flow,equivalent to an official ritual drama,showing the civilizing role of ancient ritual culture.

关 键 词：杜甫 三大礼赋 典礼赋 祭祀 礼乐文化 仪式剧 

分 类 号：I207.22[文学—中国文学]