论上古乐奏形态与《诗经》兴体之原始关联  

On the Connection between Representation of Musical Performance with Xing in The Book of Songs in Ancient Times

作　　者：张树国[1] 梁爱东[2] 

机构地区：[1]青岛大学文学院 [2]青岛大学理工学院,山东青岛266071

出　　处：《东方论坛（青岛大学学报）》2004年第2期6-12,共7页Eastern Forum（JOURNAL OF QINGDAO UNIVERSITY）

基　　金：国家社科基金项目"宗教伦理与中国上古祭歌形态研究"专题论文。批准号:03CZW005

摘　　要：本文从曾侯乙墓鸳鸯盒乐舞图入手,分析上古时代的乐奏形态。从乐官装扮、 造型及音声模写等方面都体现了图腾艺术的本质特点,即艺术仿生性。作为《诗经》艺术手段的“兴”实际来源于上古乐官文化的兴祭仪式,通过交响性质的“大合乐”召唤神灵、营造神人以和的氛围。随着兴祭原始宗教色彩的淡去,凝固为《周礼》所说的“乐语”和《诗经》的表现手法。This paper, based on the lacquered wooden mandarin duck form the tomb of Marquis Yi of Zeng, analyzes the connection between the musical performances and the xing (association) device used in The Book of Songs. The costume of musical officers, the model of Xun-ju (structures for musical instruments) and the metaphor of sound all represented the essential traits of totem arts. Xing as a means of artistic device in The Book of Songs came from the xing sacrifice rite in ancient times in which symphonic music was used to evoke deities and create a harmonious atmosphere among them. With the disappearance of the religious nature, xing solidified into a kind of musical language as mentioned in Zhou Li (a classical Confucian book) and a device of expression in The Book of Songs.

关 键 词：乐奏形态 兴祭 图腾祭 艺术仿生学 

分 类 号：I207.21[文学—中国文学]