儒家道统的回归与礼乐思想的承续——唐代儒学兴起及其在表演艺术思想中的承继和发展

A Return to the Confucian Tradition and Inheritance of Rites-music——The Rise of Confucianism in Tang Dynasty and Inheritance Along with Growth in Performance Art Thought

唐代表演艺术思想的形成,伴随着儒家道统的回归和对儒家礼乐思想的承继。以孔颖达、王通、韩愈和李翱等为主的儒家学说剥离了汉代以来儒家学说与谶纬的关系,否定了董仲舒等汉代儒者"以谶解经"的合法性,使儒家学说重新回到孔孟学说的基本教义上来,实现了汉魏以来儒家学说的初步转型,为宋明道学的形成和发展奠定了坚实基础。隋唐时期表演艺术思想在这一社会思想基础和哲学背景上,呈现出向儒家文艺思想的回归,使唐代表演艺术思想不仅重新强调乐的化育功能,突出乐在化育功能中的情感作用,而且从多种角度和多重层面探索了以乐为范畴的诸多表演艺术的哲学根源,初步形成了以音乐、歌舞等表演艺术为核心的艺术思想。

The performance art thought in Tang Dynasty took shape along with a return to the Confucian tradition and inheritance of rites-music. The Confucian school ：represented by Kong Yingda, Wang Tong, Han Yu and Li Ao, removed the relation to divination ：since Han Dynasty to redirect Confucianism to its fundamental basis by turning the theory promoted by Confucius scholars like Dong Zhongshu in Han Dynasty unjustifiable, thus transition has been initially achieved to lay solid foundations for Song-Ming Neo-Confucianism. Based on the above ideology and philosophy, the performance art thought went back to its basics and in turn reinforce music＇ s civilizing influence, as well as its emotional highlight. This fashion explored philosophy sources for various types of performance art related to music in multiple levels and angles.