齐韶与祭孔乐舞

Qishao Music and Confucian Sacrifice Dance and Music

祭孔乐舞是迄今为止中国仅存的雅乐舞,而《韶乐》又是中国历代王朝所尊崇的雅乐体系的重要组成部分之一。这两者在我国雅乐发展历史中同样担当着举足轻重的作用。根据艺术发展的规律,任何艺术的新生作品都必须或必然是建立在继承文化传统的基础之上,祭孔乐舞的诞生虽然远离《韶乐》流传盛行的西周,但是,《韶乐》的内容和形式却深深影响着中国历代雅乐的制作和发展。作为中国雅乐分支的孔庙乐舞,对《韶乐》的传承也必定有历史的必然和血脉的联系。因此毋庸置疑,现存的祭孔乐舞成为当下我们寻找古《韶乐》历史面貌的主要甚至是唯一的实物资料。而通过研究发现,两者之间不仅有关而且渊源久矣。

Confucian Sacrifice Dance and Music is the only elegant dance and music that China keeps, and Shao Music is one of important constituents of court music system venerated by the previous dynasties. These two take similar pivotal functions in China＇ s court music development history. According to the rule of artistic development, any artistic newborn work will inevitably inherit the cultural tradition. The time when Confucian Sacrifice Dance and Music appeared was far away the Western Zhou Dynasty when Shao Music was popular. But the content and the form of Shao Music greatly influenced the production and development of Chinese court music of all the previous dynasties. As a branch of the Chinese court music, Confucian temple dance and music is closely related with the tradition of Shao Music. Therefore Confucian Sacrifice Dance and Music becomes the only material that we can find the essence of Shao Music with. In the research, it is found that the two are not only related but connected with a long history.