六代大舞合用说在汉代的演进

Evolution of Six Dynasties of Great Dance in Han Dynasty

两汉时期,很多经学家主张天子大祭祀所用乐舞当包含先王通行与本朝制作两类,《周礼·春官·大司乐》“以六律、六同、五声、八音、六舞大合乐”可视为此种主张的经典依据。元始年间,王莽在其天地合祀的礼制改革中将这种经学理论付诸实践,并在气论及阴阳学说的背景下加以诠释。郑玄注解《大司乐》,基于原文框架进行建构,提出了分等级的祭祀用舞制度,并结合《尚书·皋陶谟》对合舞的政治意义进行阐发。从各家经说到王莽的实践和郑注的发挥,六代大舞合用说深刻影响了汉代的乐舞制度与思想。清代礼学名家孙诒让对王莽、郑玄之说多有批评,立论虽精,但也存在忽略汉代实际情况等问题,需要加以辨明。

During the Western and Eastern Han Dynasties,many scholars advocated that the music and dance performed in the grand sacrificial ceremonies should include two types:those used by the previous emperors and those created by the current dynasty.The Rites of Zhou·Offices of Spring·Music Officer could be regarded as the classical reference for this claim,which took six rhythms,six harmonies,five notes,eight tones,and “six dances into joint music”.In the reigning years of Emperor Ping(1 BC to 5AD),Wang Mang put this theory into practice in his ritual reform to offer sacrifices to heaven and earth and interpreted it in the context of the theory of qi(vital life force)and the philosophy of yin-yang(complementary opposites).Zheng Xuan’s commentary was based on the framework of the original text and proposed a hierarchical sacrificial dance system,and explained the political significance of the joint dance with Books of History·Counsels of Gao Yao.From the classics of various schools to Wang Mang’s practice and Zheng Xuan’s explanation,the theory of the joint use of the“six dynasties of great dance”profoundly influenced the music and dance system and the philosophy of the Han Dynasty.Sun Yirang,a famous scholar of rites in the Qing Dynasty,criticized Wang Mang and Zheng Xuanzhi’s theories,and although his arguments were precise,there were issues such as ignoring the actual situation of the Han Dynasty,which needed to be clarified.