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作 者:李忠超 LI Zhong-chao(School of Humanities,Anqing Normal University,Anqing 246003,China)
出 处:《青海师范大学学报(社会科学版)》2024年第6期118-124,共7页Journal of Qinghai Normal University(Social Sciences)
基 金:安徽省科研编制计划重点项目“方苞三礼学的美学思想研究”(2022AH051013);安徽省社会科学创新发展项目“‘两个结合’视域下桐城地方家训的当代美育价值”(2023CX128)。
摘 要:隋唐儒家美学制度实践中的“礼乐为虚名”问题,自宋人欧阳修提出以来,一直备受争议。朱熹甚至以戏谑的口吻认为唐代朝会舞蹈之礼不可理喻。元正朝会中的舞蹈礼是专制社会和合君臣关系一种方式。元正朝会礼仪从汉代确立以来经历了上计吏敕戒、委贽之礼到舞蹈礼的转变。元正朝会礼仪形式的转变是因为汉唐中央地方行政制度发生变革,从汉代的上计吏制度到隋唐朝集使制度,每一次制度的变革均对朝会仪产生了影响。隋唐舞蹈礼美学空间的制度背景即基于此,舞蹈礼美学空间迁转与政治中心转移一致:从太极宫的太极殿—承天门到大明宫含元殿—丹凤门,再到兴庆宫的花萼—勤政楼,隋唐长安都城建筑政治美学空间随权力中心而转移。Since Ouyang Xiu of the Song Dynasty put forward the problem of“rites and music as a false name”in the practice of Confucian aesthetic system in Sui and Tang Dynasties,it has been controversial.The dance ceremony in the Yuan Zheng Dynasty is a way of harmony between the emperor and the subject in the autocratic society.Since its establishment in the Han Dynasty,the rite of the Yuan Zheng Court has experienced the transformation from the official resending precepts and the ceremony of the Commission to the ceremony of dancing.The change of the ceremonial form of the meeting in the Yuan Zheng Dynasty was due to the reform of the central local administrative system in the Han and Tang Dynasties.From the official system of the Han Dynasty to the official system of the Sui and Tang Dynasties,every reform of the system had an impact on the meeting ceremonies in the Dynasty.The institutional background of the dance ritual esthetic space in Sui and Tang dynasties was based on this,and the shift of the dance ritual esthetic space was consistent with the shift of the political center:from Taiji Hall—Chengtian Gate in Taiji Palace to Hanyuan Hall—Danfeng Gate in Daming Palace,and then to Huacaly—Qinzheng Building in Xingqing Palace,the political esthetic space of the capital of Chang'an in Sui and Tang Dynasties shifted with the power center.
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