殷商乐钟命名·乐悬概念体系·乐钟观念定位——试论青铜乐钟的三个问题

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文艺理论研究 ›› 2017, Vol. 37 ›› Issue (3) : 164-171.

美学与文化研究

殷商乐钟命名·乐悬概念体系·乐钟观念定位——试论青铜乐钟的三个问题

张法

作者信息 +

The Naming of Bronze Bells in the Shang dynasty;The Concept System of Yuexuan; Bronze Bells' Definition:Three Issues about the Bronze Bell

Zhang Fa

Author information +

文章历史 +

摘要

殷商乐钟无自名，被学界主流命名为铙，也有著名学人命名为庸，从青铜乐器由虞夏时代的铜铃到殷商时代的编铙（庸）到西周以后的编钟来看，铙是从铃的角度去看而得出，庸是从钟的角度看而来出，在铃-铙或庸-钟的演进中，庸更能体现殷商乐钟的本质特性。乐悬概念由簨虡、肆堵、宫-轩-判-特组成，三组概念不但每一后者都可包含前者，而且具有从夏到商到周的时代演进意义。青铜乐钟在最初进入以鼓磬为主体的乐器体系时，被定义为阴阳体系中的阴。随着其入主中心，其性质转为阴阳兼有且阴阳互含而灵活圆转。

Abstract

The bronze bell in the Shang Dynasty had no name, which was why it has been called Rao (铙) by many scholars and Rong (庸) by others. From the viewpoint of the evolution of bronze bells, Rao was related more to Ling (铃) in the Xia Dynasty, and later Rao became Rong in the Shang Dynasty and finally Bianzhong (编钟) in the Western Zhou Dynasty. Thus seen, Rong was more akin to the nature of bronze bells. The concept system of Yuexuan (乐悬) consisted of three aspects: sunju (簨虡), sidu (肆堵) and gong-xuan-pante (宫-轩-判-特). The three groups of concepts were not only mutually inclusive but also revealed the evolution from the Xia to the Shang and to the Zhou Dynasty. When the bronze bell was a part of the musical instrument system dominated by Zhong and Qing (钟磬), it represented Yin (阴) in the Yin-Yang system. When it became dominant later, it possessed both qualities of Yin (阴) and Yang (阳).

导出引用

张法. 殷商乐钟命名·乐悬概念体系·乐钟观念定位——试论青铜乐钟的三个问题[J]. 文艺理论研究, 2017, 37(3): 164-171

Zhang Fa . The Naming of Bronze Bells in the Shang dynasty;The Concept System of Yuexuan; Bronze Bells' Definition:Three Issues about the Bronze Bell[J]. Theoretical Studies in Literature and Art, 2017, 37(3): 164-171

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