唐代胡乐入华及审美问题研究

【作者】 罗希；

【导师】 张弘（普慧）； 葛承雍；

【作者基本信息】 西北大学 ， 中国审美文化史， 2012， 博士

【摘要】 唐代胡乐入华是中国音乐史上的重要事件,外来音乐传入中原在唐代进入高峰时期,从全面接受到融为一体,外来音乐传入所带来的影响为后世音乐发展奠定了重要基础,而这一文化特征的形成是以前代地理交通、民族迁徙和地区文化交流三方面为前提的。首先,丝绸之路的打通为胡乐的东传提供了通道,同时也为中原文化的输出提供了途径,由此唐以前向西“播被”的中原文明在唐代得以“回授”；其次,五胡乱华以来的民族迁徙使中国北方地区具备了广泛的胡文化基础,这种文化以阳刚、朝气蓬勃的精神作为核心,隋唐音乐就是孕育在这样的土壤之中；再次,外来的胡乐在到达中原之前已经在遥远的西亚、中亚及南亚北部经过了上千年的融合,是这些地区文化交流的宝贵结晶,体现了世界性多元文化内在美,与之相对应的是东方长安对多元文化的包容,包容性的都市吸引着世界性的音乐,而世界性的音乐反过来影响着长安城里的人们,由此唐人审美胡乐,将获得的审美感受内化为审美观,这种审美观表现为开放和敞开的国际化视野。当审美观进一步内化为理性的自我意识时,唐人复杂而多元的世界观便自然形成,而当自我意识再次外化为艺术形式时,唐人弹琵琶、耍犯调、听霓裳、舞浑脱的文化生活得到进一步丰富。一,琵琶成为了唐代社会雅俗共赏的乐器。文人对琵琶的喜爱使琵琶的世俗性特征不再明显,琵琶不仅出现在日常的家宴小曲中,同样在宫廷燕乐大曲中成为主奏乐器。随着仪式化燕乐在郊庙、祭祀中的使用,琵琶也参与其中。二,隋唐燕乐二十八调的形成是中国音乐史的重大事件。乐调是音乐的根本,而燕乐二十八调是后世俗乐得以繁荣发展的源头,成于隋唐的二十八调也具有世界性特征,其核心是来自于受西亚、中亚和印度影响的龟兹五旦七调,它的形成则是以融合了苏祗婆五旦七调的中原文化思想作为基础的。今天这种特殊的乐调在陕西音乐依然可以听到,以苦音音阶的广泛存在为代表。三,今天的长安古乐谱依然存有乐曲《婆罗门引》,这首乐谱的存在与遥远的《霓裳羽衣曲》相呼应。长安古乐被公认为唐代燕乐的活化石,在乐曲结构、乐调、演奏方式等方而与唐乐相呼应,而古乐谱的存在为研究唐代音乐而貌提供了实体参照。文献与乐谱相结合的研究方法更容易接近历史的原貌,这种接近虽然不可能使人获得唐代的音响,但是可以使我们在仰望古人的同时从感官上理解他们对美的感受。四,泼寒胡戏来自于昭武九姓康国,它的源头实际上可以追溯到雅利安人的原始信仰苏摩祭祀活动。艺术来源于宗教,原始信仰中的苏摩仪式通过宗教(祆教)得以延续千年,但是在苏摩仪式自西向东传入中原的过程中,这种宗教行为开始向世俗化艺术形式转变,以“泼寒胡戏”的戏弄形式在日常礼俗、节日和佛教行像仪式中使用,但是它的宗教意义已经消失。以上四方面是隋唐胡乐入华的微观表现,体现了唐代社会解除、解脱、破解的精神需求,这种精神需求内在表现为三元的精神结构,同时感性的审美和理性思想世界还构成了精神世界的双层结构。审美是精神活动的重要组成部分,通过审美,唐代社会的精神需求可以得到充分满足。因此,唐人的审美以“解”为途径,表现为外来胡乐在日常生活方方面面的渗透。从民间的唐诗到官方的礼乐志都可以感受到外来文化对隋唐艺术的深刻影响,由此唐人复杂而立体的精神结构通过胡乐的“解”呈现出超脱自我的自由之美。更多还原

【Abstract】 From Sui to Tang, the influx of Huyue is a significant event in the history of Central Plains. During the peak period of Huyue spreading, the foreign music and cultural values were accepted as the basis for the development of later dynasties’music. Furthermore, this acceptance is based on three factors:the geographic traffic of the previous dynasty, ethnic migration, and regional and cultural exchanges. First of all, the Silk Road is a way for the orient-spread of Huyue, and also provides a way for the efflux of the Central Plains culture. Then, Chinese Civilization "broadcasts" to the west in the earlier dynasty and "feedbacks" in the Sui and Tang Dynasties. Secondly, the ethnic migration provides a basis for Hu culture in Northern China, the core of which includes the masculine, vibrant spirit. And the music in Sui and Tang dynasties grows up in such soil. Thirdly, before arriving in the Central Plains, Huyue had been intergraded for thousands of years in the West Asia, Central Asia and northern region of South Asia. Huyue is a valuable crystallization of cultural exchange, and reflects the inner beauty of a collection of worldwide multi-culture. Corresponding to this feature, Chang’an was a multicultural inclusion city, which has attracted the international music. And the intertional music influences people’s life in the city of Chang’an. When people hear music, they can feel aesthetic ideas, which is expressed as an open and international perspective.When the aesthetic ideas internalized rational self-consciousness, the complex and multifaceted view of the world in the Tang Dynasty was naturally formed. When self-consciousness externalizes into the art form once again, the colorful cultural life was further enriched. First, Pipa is the popular tastes of the musical instruments of the Tang Dynasty. Confucians were in favor of the Pipa music, and then the feature of this instrument in people’s mind had been changed. Pipa did not only appear in the daily family party, but also in the court Yanyue as the main musical instrument. With the ceremony of Yanyue being used in the worship, the pipa was also used in this special circumstance. Second, the formation of Yanyue twenty-eight tone is a major event in Chinese music history. The melody is fundamental to the music, and Yanyue twenty-eight tone can be the source of the prosperity and development upon secular music. Yanyue twenty-eight tone has worldwide characteristics. Its core comes from the Qiuci seven tone affected by the culture of West Asia, Central Asia and India, and its formation is based on the Central Plains culture thinking which has absorbed Qiuci seven tone. Today, this particular melody can still be heard in Shaanxi music. Third, there is still a score named Brahman in the scores of Chang’an ancient music, which has been recognized as the living fossil of Yanyue. Brahman is an echo of Yanyue Nishangyuyi, as music structure, tones, and instruments. The ancient music scores provide a reference for the study of Tang Dynasty music. The combination of literature and music research makes it easier to close to the original history. Although it is impossible to get the sound of the Tang Dynasty, we can understand the ancients’feelings from the senses. Fourth, Huntuo is the dance of Pohanhu in Tang Dynasty, which was from "Kang". The origins of Pohanhu can actually be traced back to the primitive belief of the Aryan nation. The art comes from religion, and soma ceremony from the original beliefs continues to be thousand years through religion (Zoroastrianism). However, when Sumozhe spread from west to east, the religious behavior began to change the secular art form, which was used as Pohanhu in daily rituals, and festivals, but it’s the significance of religion have disappeared.The above four aspects are the micro-performance of the influx of Huyue, which reflect the spiritual needs of the Tang Dynasty. The inherent feature of the spiritual needs is a three-aspect-two-tier structure. The aesthetic and rational thinking constitute the double structure of the spiritual world. Aesthetics is an important part of mental activity, and the spiritual needs of the Tang Dynasty are fully met. Therefore, by means of "Jie", the aesthetic of Tang dynasties was expressed as the penetration of Huyue in all aspects of daily life. From poem to official records, there is a profound impact from the alien culture of the Sui and Tang art. Generally, the complex three-dimensional structure spirit of Tang people shows a free beauty by Huyue and its feature "Jie".更多还原