复古与重构:论《风雅十二诗谱》的历史意义——兼及朱熹的雅乐理论

Retro and Reconstruction:On the Historical Significance of the Twelve Elegant Poems Score and Zhu Xi's Theory of Ceremonial Music

载于《仪礼经传通解》中的《风雅十二诗谱》,在创作时间、乐谱性质等问题上一直存在争议。仅仅局限于《风雅十二诗谱》本身所提供的信息,无法正确评判乐谱的历史价值。《晦庵先生朱文公文集》《晦庵先生朱文公续集》《朱子语类》《律吕新书序》《仪礼经传通解》等文献中所包含的论乐内容,显示出朱熹音乐著述的目的是在复古的理念下重构南宋雅乐体系。律、调、谱一体是朱熹雅乐理论的核心特征。在朱熹雅乐理论的影响下,《风雅十二诗谱》成为后世雅乐创作的范本。《仪礼经传通解》对《风雅十二诗谱》的收录,客观上促成了后世雅乐体系的重构。

The Twelve Elegant Poems Score recorded in the General Interpretation of Ceremonial Etiquette has been controversial regarding its creation date and the nature of the music score.It is challenging to accurately assess the historical value of the music score based on the limited information provided by the Twelve Elegant Poems Score.Zhu Xi's music writings,as reflected in works such as the Collection of Master Zhu Xi,Sequel of the Collection of Master Zhu Xi,Zhuzi Yulei,Preface to the Lv New Book,and the General Interpretation of Ceremonial Etiquette,aim to reconstruct the ceremonial music system of the Southern Song Dynasty under the concept of retro.The integration of law,tune,and spectrum is the core feature of Zhu Xi's theory of ceremonial music.Under the influence of Zhu Xi's theory,the Twelve Elegant Poems Score became a model for later generations in creating ceremonial music.The inclusion of the Twelve Elegant Poems Score in the General Interpretation of Ceremonial Etiquette objectively contributed to the reconstruction of the ceremonial music system in later generations.