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文艺理论研究

文艺理论研究 ›› 2018, Vol. 38 ›› Issue (4): 91-102.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

冷谦律与明代礼乐更制的雅俗之争——兼议元明复古（乐）思潮的南北消长

李舜华   

  1. 华东师范大学中文系
  • 出版日期:2018-09-25 发布日期:2018-10-22
  • 作者简介:李舜华，华东师范大学中文系教授，博士生导师，主要研究领域为元明清文学。
  • 基金资助:
    国家社会科学基金一般项目“明代乐学与曲学研究”[项目编号：11BZW060]；全国高校古籍整理委员会项目“《明史乐志》及相关音乐文献之笺证”[项目编号：0515]的阶段性成果

The Conflicts between Elegance and Vulgarity: Leng Qian Prosody and the Changes of Rites and Music in the Ming Dynasty

Li Shunhua   

  1. Department of Chinese at East China Normal University
  • Online:2018-09-25 Published:2018-10-22
  • About author:Li Shunhua, Ph.D., is a professor in the Department of Chinese at East China Normal University, with research focused on the Yuan, Ming, and Qing literature.
  • Supported by:
    the Social Sciences Fund of China (No. 11BZW060) and the Ancient Books Arrangement Committee Project for National Universities (No. 0515)

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摘要： 文学复古思潮实与经学领域里的复古乐思潮相表里。如果说，有明文学以宋濂为始，乐学则以冷谦为始。宋濂等人对冷谦的推许，直接体现了当时士夫锐意复古，必得太古元音以正天下的乐学主张；表现在文学领域里，便是推崇诗三百诗乐相和的自然之音，宋濂更直接标榜诗三百以下无诗。然而，洪武制作最终绍继金元之统，以北音正天下，宋濂与冷谦最终一死一遁，冷谦律亦日益湮没。正嘉之后，复古乐思潮再次兴起， 一时明廷究竟是袭用大晟律还是冷谦新律始聚讼不已；论其实质，正是对北宋灭亡以来，甚至唐玄宗大立教坊以来，乐音俗变暨相关改制的重新审视；相应也是对北宋灭亡以来音声南北嬗变的重构，而直接呼应了当时文学复古思潮的南北嬗变。

关键词: 冷谦律, 元明复古 (乐) 思潮, 礼乐制作, 南北文学

Abstract: Like the exterior and interior relations, the retro thoughts trend in literature shared a mutual interdependence with the retro trend on music in Confucian classicism. Song Lian initiated the literature of Ming while Leng Qian pioneered the musicology correspondingly. Song Lian and his followers' esteem for Leng Qian directly represented the retro thoughts of contemporary scholarofficials and their musicology ideas to reform the world with ancient music. In terms of literature, they canonized the harmony of music and poetry exemplified in The Book of Songs and Song Lian further denied the validity of poetry afterwards. Eventually the Hongwu ruling period (1368-1398) saw a restoration of order with northern music, which was a legacy of the Jin and Yuan dynasties. And then Song Lian was sentenced to death by the emperor and Leng Qian became secluded, leaving his prosody to fade out. The retro thoughts trend on music revived after the Zhengde (1491-1521) and Jiajing (1507-1566) periods with recurrent debates on the Da Sheng prosody and Leng Qian prosody. The phenomenon actually was a re-examination of the popularizing process and changes related to music after the fall of the Northern Song dynasty (960-1127), even after Emperor Xuanzong in the Tang dynasty (618-907), who had promoted greatly the imperial music academy. Meanwhile, it was also the restructuring of Northern and Southern music after the Song dynasty, corresponding with the retro thoughts in literature in the North and South at the time.

Key words: Leng Qian prosody, the retro thoughts trend (on music) in the Yuan and Ming dynasties, enacting of rites and music, literature in the North and South