明代宫廷乐舞管理史研究的传承发展

Inheritance and Development of Research on Management History of Palace Music and Dance in Ming Dynasty

自明朝建立以后,汉族统治者重掌政权。当时的明朝正处于封建社会发展的晚期阶段,同时也是国家资本主义萌芽阶段。期间,统治者大力推行恢复汉制及复兴儒学的政策。虽然被破坏的汉族文化在一定程度上得以恢复,社会经济也得到逐步的恢复和发展,但是仍未能改变封建制度日益衰败的命运。在思想文化上,统治者极力推崇儒家思想中的程朱理学,对大量的以汉文化为基础的雅乐进行恢复、重建工作,希望以雅乐来维护封建政治统治秩序。宫廷乐舞被扶持的同时民间杂剧、戏曲却被严厉打压。虽然严苛的思想禁锢与制度的束缚并没有阻挡其发展以及对宫廷乐舞的影响,但残酷的销毁、限制手段依旧在一定程度上阻碍戏剧的传播与传承。

Since the founding of the Ming Dynasty,the Han rulers came back to the power.At that time,the Ming Dynasty was in the late stage of the development of the feudal society,and it was also in the embryonic stage of national capitalism.During this period,the rulers vigorously carried out the policy of restoring the Han system and reviving Confucianism.Although the destroyed Han culture was restored to a certain extent,and the social economy was gradually restored and developed,it failed to change the declining fate of the feudal system.In terms of ideology and culture,the rulers highly advocated Cheng-Zhu Neo-Confucianism,and carried out the restoration and reconstruction of a large number of the music based on the Han culture,hoping to maintain the feudal political ruling order with the music.Palace music and dance were supported,while folk zaju and opera were severely suppressed.Although the strict ideological and institutional constraints did not stop the development of the opera and influence on the palace music and dance.However,the cruel destruction and restrictions still hinder the dissemination and inheritance of drama to a certain extent.