释奠礼乐在建水的历史变迁与当代传承

On the Historical Change and Contemporary Inheritance of the Shidian Ritual Music in Jianshui

释奠礼乐是中国历朝历代对祭孔释奠礼用乐的总称。由文献记载可知,与中原地区较早以各级庙学或孔子家庙为载体广泛传承传播释奠礼乐的历史状况不同,云南作为西南边陲,其有明确释奠礼乐乐章传承记载的历史始于明代。建水作为明清两代云南文献名邦,释奠礼乐的传承曾经受到过重视,并成为云南释奠礼乐传承的重要地区。文章通过梳理、分析建水地方志及相关文献史料,再现释奠礼乐在建水传承的历史风貌;与此同时,结合田野调查探究释奠礼乐在当代的传承情况。本文提出,释奠礼乐的传承经历了一个不断变更的过程,如果说明清时期庙学释奠礼乐的传承是国家向边地实施礼乐教化的过程,那么后期洞经会对释奠礼乐的种种改造与重建,就是民间对国家意识层面礼乐文化的回应。

Shidian ritual music is a general term for the music used in memorial ceremonies for Confuciusin the past Chinese dynasties. We can see from the literature that, unlike China＇s Central Plains where the Shidian ritual music was widely spread via all levels of temple - hosted learning or Confucius temples very early, there was no clear historical record of the inheritance of Shidian ritual music in the remote Yunnan until the Ming Dynasty. As a famous town of culture in Yunnan, Jianshui once laid emphasis on the inheritance of Shidian ritual music and become an important area for that undertaking. Through selection and analysis of local chronicles and relevant historical literature, we can form a picture of the inheritance of Shidian ritual music in the history of Jianshui; meanwhile, we can see the inheritance had undergone constant changes. If we can say the inheritance of Shidian ritual music through temple - hosted learning in Ming and Qing dynas- ties was a process in which the state penetrated the rites and music into the border areas, then we can say the various reformation and reconstruction of the ritual music by Dongjing Association was the local response to the state - level advocate of rites and musie.