明代宫廷祭礼中的演乐成分初探——以“庆成礼”、“耕藉礼”为例

Music Performing in Imperial Sacrificial Rites of Ming Dynasty——A Case Study of “Qingcheng” and “Gengji”

历代宫廷祭礼俱用雅乐,身为俗乐的乐舞、百戏、戏曲等演乐内容不得入国家正礼。然历朝历代均有以俗犯雅的现象,屡禁不止。至有明一代,礼崩乐坏之乱象不断。如郊祀中的"庆成礼",用俗乐队舞;先农祭中的"耕藉礼",除简单的人物装扮外,还有百戏、院本、探子、筋斗等类似社火表演的内容。本文通过对上述两例的分析,指出明代礼乐雅俗混淆的主要原因是教坊司、钟鼓司的人员和职责混乱所致。宫廷祭礼与其中的演乐成分的关系主要表现在我中有你、你中有我,并对民间祭祀戏剧影响深远。

In the feudal dynasties, the imperial sacrificial rites take court music as highbrow one, and lowbrow music forms such as dance, acrobatics, and operas and so on cannot be performed in national formal rituals. But in the past dynasties, the lowbrow music performance often breaks the boundary and enters into the highbrow sphere, which is often banned but in vain. By the Ming Dynasty, the traditional rites are often destroyed. For example, in the rural sacrificial rites of ＂Qingcheng＂, lowbrow music is adopted. And in the agricultural sacrificial rites ＂Gengji＂, besides the simple role play, there are lowbrow performances such as acrobatics, somersault and so on. Analyzing the above two examples, it can be known that the mingling of highbrow and lowbrow music is mainly due to the irresponsibility of the related official departments. The imperial sacrificial rites and its related music performance have close relationship as an integral whole but also independent respectively, which influence folk sacrificial opera profoundly.