雅俗分野与“入雅”困境:明廷戏曲文化定位两歧性论析  

The Divide Between Elegance and Vulgarity and the Dilemma of“Entering Elegance”:On the Ambiguity of Cultural Positioning in Ming Dynasty Court Opera

作　　者：黄俊 HUANG Jun(School of Humanities,Shanghai Normal University,Shanghai 200234,China;School of Humanities,Hunan University of Science and Technology,Xiangtan 411201,China)

机构地区：[1]上海师范大学人文学院,上海200234 [2]湖南科技大学人文学院,湖南湘潭411201

出　　处：《湖南科技大学学报(社会科学版)》2025年第1期157-164,共8页Journal of Hunan University of Science and Technology(Social Science Edition)

基　　金：国家哲学社会科学基金重大项目(22&ZD283)。

摘　　要：明代宫廷沿袭传统的音乐文化场域推行雅俗之辨、尊雅抑俗的统治策略,这导致了:一方面,演剧活动作为礼仪活动的一部分,衍生出适应雅文化标准的表征上的改易;另一方面,戏曲因自身俗文化属性,在明代宫廷中长时间处于被刻意压制的发展困境中。这种因礼仪之用而受到雅文化系统眷顾、又因俗乐定性而备受钳制的两歧性状态,使得戏曲多作为雅乐表演之后的“附着物”而出现,戏曲的文学性、音乐性、舞台呈现等表征即使经由雅化改造,仍旧难以被雅乐系统所接纳。The court of the Ming dynasty followed the traditional ruling strategy of distinguishing between the elegant and the vulgar in the field of music culture and respecting the elegant and suppressing the vulgar,which led to,on the one hand,the performance of theatre activities,as a part of the ceremonial activities,gave rise to the change of representations adapted to the elegant and cultural standards;on the other hand,the theatre,due to its own vulgar cultural attributes,was in the predicament of being deliberately suppressed for a long time at the court of the Ming dynasty.This dichotomous state of being favoured by the elegant cultural system for ceremonial purposes and being suppressed by the qualitative nature of secular music made opera appear as an"attachment"after the performance of elegant music,and it was still difficult for the representations of opera,such as literature,music and stage presentation,to be accepted by the elegant music system,even if they had been transformed by elegance.

关 键 词：明代戏曲 礼乐体制 文化传统 戏曲审美 

分 类 号：I206.2[文学—中国文学]