請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/73949
完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 杜正勝(Chen-sheng Tu) | |
dc.contributor.author | Syuan Ou-yang | en |
dc.contributor.author | 歐陽宣 | zh_TW |
dc.date.accessioned | 2021-06-17T08:14:40Z | - |
dc.date.available | 2021-02-22 | |
dc.date.copyright | 2021-02-22 | |
dc.date.issued | 2020 | |
dc.date.submitted | 2021-01-29 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/73949 | - |
dc.description.abstract | 這篇論文研究的是,西周至戰國時代,「周樂」的政治意涵的形成以及其在傳世文獻中的詮釋,具體的切入點則是見於傳世文獻與考古資料的金石之樂,即鐘磬。研究取徑以考古資料與傳世文獻為基礎,考察「周樂」政治意涵的三個面向,亦即政治權威、階序及展演性。而在此政治意涵的形成過程中,以鐘磬組合為核心的周樂,其政治意涵的建構並不完全出自少數政治菁英或政權的手筆,而在更大程度上受不同邦國、族群間的文化交流影響。可以說,文化交流因素在此扮演了相當重要的角色。
論文的第一章、第二章及第三章,是將以考古資料所見的鐘磬為主,論證自晚商至戰國時期,「周樂」政治意涵的演變。晚商時期的殷墟小鐃與石磬,是以鐘磬為關鍵組合的周樂的前身,已在考古資料反映鮮明的政治權威、階序性質,並且初具展演意味。至西周時期,成編甬鐘與石磬的組合,取代晚商時期的殷墟小鐃,成為「周樂」的骨幹,形成規範周人的政治秩序的禮儀系統。春秋時代至戰國早期,「周樂」的政治意涵基本延續西周時期的狀況,只是變得更加精緻與複雜,且作為樂器的金石之樂,其發展的路徑開始與青銅禮器出現分歧。相對於青銅禮器的復古傾向,編鐘更重創新。於此也體現鐘磬之樂作為媒介的雙重性質,維繫人神之間與人際(或國際)間的和諧關係。另一方面,西周甬鐘的出現與蓬勃發展,涉及的是深刻的文化交流議題。甬鐘在形制上源自晚商時期的南方大鐃,並在西周中期以降全面的取代南方大鐃。不過,分布在南方西周甬鐘,大多為零星為人所發現,少以成編形式見於墓葬,出土脈絡與南方大鐃相似。至春秋晚期始見編鐘與石磬搭配的墓葬在南方的夷人墓葬出現,此意味不同文化與族群之間交流更為深入。 論文的第四章與第五章則是在前述物質文化基礎上,分析傳世文獻中封建貴族與職人,如何運用「周樂」的政治意涵。「周樂」在封建政治秩序與社會中所反映的價值系統,則表現在傳世文獻所記載的禮儀、威儀觀。其中貴族間「賦詩言志」的往來形式,即深具展演意味,而封建貴族與職人「以樂論政」的政論表述形式,則是禮儀與威儀觀的具體呈現。此外,「周樂」的實際運作則仰賴樂官、樂工構成的職人集團。當封建社會崩潰後,封建禮儀與金石之樂成為明日黃花,詮釋「周樂」政治意涵的群體,由封建貴族轉換為新興知識分子,其論述則主要見於《荀子.樂論》與《周禮.春官.大司樂》。在此詮釋框架下,「周樂」逐漸作為理想政府體制的一環而為戰國知識分子所論述,且「移風易俗」的質素日益受到重視。 大抵而論,這篇論文藉由梳理出土資料中鐘磬的源流與發展,論述以鐘磬為核心的「周樂」的政治意涵,及其在文獻所載中封建貴族政治生活中的定位,及其所形塑的價值系統等。由此省思在商周時期複雜且未必見諸文獻記載的文化交流背景下,「周樂」的政治意涵如何形成,又如何在周代封建社會崩潰後受到詮釋。這篇論文揭示的是,在傳世文獻與考古資料中,周樂無疑是周代統治階層的政治支配工具,這除了基於周樂所具有的政治意涵外,也在於其作為媒介的性質,從而使得不同族群或邦國能夠加以靈活運用,作為彼此間往來的橋樑。 | zh_TW |
dc.description.abstract | This thesis explores the connection between music and politics from the Western Chou to the Warring States period in China. It focuses on the political meaning of the “Music of Chou” (chouyue, 周樂) and its hermeneutics from bells and chime stones in these periods. It examines this political meaning of the “Music of Chou” by using methods which combine transmitted sources and archaeological data. It is clear that there are three dimensions in the political meaning/importance of the “Music of Chou,” namely political authority, hierarchy, performance and display.
From the view of archaeology, the traces of connections between political authority, hierarchy, and display and performance showed up in the late Shang period at the Ruins of Yin (殷墟), exemplified with little nao (小鐃) and stone (磬) in the tombs. In the early Western Chou period, Chou people designed bells that stylistically derived from the big nao (大鐃) formed by southern peoples. When yongzhong (甬鐘, a kind of bells) appeared in the later part of the early Western Chou period, they quickly substituted for nao in Northern China, and for big nao in southern China although southern people used it as big nao. The stones were replaced by chime stones at the same time. Bells and chime stones built the core ritual set of the “Music of Chou” in material culture. Its political functions became much more distinct in Western Chou period. It represented political authority, hierarchy, both of which appeared in the tombs of aristocracy. According to bronze inscriptions and transmitted sources, bells and chime stones also played as mediums in rituals to construct relationships between people and their deceased ancestors or gods through its display and performance by craftsmen of music. The political functions of the “Music of Chou” were not merely to stand for political authority, hierarchy, but also to maintain a harmonious relationship between peoples, the secular world and the sacred world through display and performance. According to transmitted sources, the context of using bells and chime stones was related to feudal aristocracies and craftsmen of music in the Chou period, especially in the Spring and Autumn period. In addition to political function of “Music of Chou” and it as mediums in ritual, in order to deal with personal, family, or international affairs, well-educated noblemen formed elegant and refined ways to express themselves by music, poetry, and rhetorics. The craftsmen of music and their fellows were responsible for displaying musical instruments and carrying out musical performance. These ways of communications between aristocracies were also extremely similar to performance. It’s important that performance can be considered as competitions between countries as military conflicts. These competitions in the ritualistic realm were no less important than winning the wars. So that, southern people, for example, the yi (夷) people, started to use bells and chime stones set together in tombs. It reveals the fact that the political meaning and function of “Music of Chou” spread to south through interaction between different peoples. This interaction became much more frequent and extensive in the late Spring and Autumn period. The Warring State period is a new era for both the aristocracies and the intellectuals who newly arose from common people. After the collapse of the feudal society, the control over discourses about ritual and the “Music of Chou” did not belong to feudal aristocracies anymore. The new ruling aristocracies had abandoned the control over discourses about ritual and the “Music of Chou,” as they turned to focus on military annexation in order to maintain political power. Therefore, the power of discourse about ritual and the “Music of Chou” came to be ruled by new intellectuals. New intellectuals with different attitudes (different from whom?) to the political meaning of the “Music of Chou” in the Warring State period; they were trying to transform the “Music of Chou” into a kind of tool which could cultivate the common people, and kept common people away from bad habits and rude acts. In conclusion, the connection between music and politics discussed above gradually form the basic political meaning of the “Music of Chou.” Bells and chime stones concretized the “Music of Chou” that stands for political authority and hierarchy in the tombs. The aristocracies exchanged information and sacrificed for their ancestors or gods by performance of the “Music of Chou” in ritual and banquette. The “Music of Chou” represents for harmony and order for which aristocracies chased in these procedures. It is obvious that the political meaning of the “Music of Chou” mainly consists of three parts, political authority, hierarchy, and performance and display. It is considered as a kind of political ruling tool for preserving political power by feudal aristocracies. Cultural interaction plays an important role in the procedure of the formation of political meaning about the “Music of Chou.” The Chou people did not invent it all on their own; they synthesized the cultures of Yin and southern peoples. When feudal society crumbled, it was transformed into an ideal political discourse for governing and cultivating all the people by the new intellectual class in the Warring period. | en |
dc.description.provenance | Made available in DSpace on 2021-06-17T08:14:40Z (GMT). No. of bitstreams: 1 U0001-2701202115440000.pdf: 13174486 bytes, checksum: 2cfe4b0f222a5a3bf3af3512be7dd2dc (MD5) Previous issue date: 2020 | en |
dc.description.tableofcontents | 緒論 2 一、前言 2 二、研究概念與研究時間範圍界定 3 (一)「周樂」政治意涵的界定 4 (二)「周樂」在傳世文獻與出土資料的所指 5 (三)研究的時間與空間 6 (四)樂器分類方式 6 三、研究回顧與評論 7 (一)中國音樂史與音樂考古 7 (二)文本的敘事研究與歷史學 9 (三)評論 11 四、研究視野、研究資料及章節架構 12 (一)研究視野與研究資料 13 (二)章節架構 17 第一章 「周樂」政治意涵的源起—— 出土資料所見商代晚期的小鐃、石磬及南方大鐃 19 前言 19 一、商代晚期小鐃、南方大鐃、鎛及石磬的形制特徵 19 (一)小鐃 20 (二)南方大鐃 23 (三)鎛 25 (四)石磬 26 二、商代晚期出土資料所見的石磬、小鐃及其政治意涵 28 (一)政治權威與身分等級 28 (二)小鐃與石磬的展演 31 三、出土資料所見的南方大鐃 32 (一)分期斷代的兩個座標:江西新淦大墓與湖南寧鄉炭河里 33 (二)南方大鐃的分類與發展序列 34 (三)討論 39 四、南北文化交流的線索 41 (一)作為特殊案例的江西新淦大墓 41 (二)湘江流域的青銅文化發展 43 (三)討論 44 小結 46 第二章 文化交流下的秩序構建—— 西周時期出土資料所見「周樂」的政治意涵 51 前言 51 一、西周的甬鐘、南方大鐃、石磬及鎛 51 (一)甬鐘與南方大鐃 51 (二)石磬 54 (三)鎛 54 二、文化交流下的西周甬鐘及其政治意涵 57 (一)南北文化交流 57 (二)一種可能性:南方地區西周甬鐘與南方大鐃的競爭 61 (三)政治權威與階序 64 (四)禮儀改革的線索 68 (五)鐘磬在祭祀儀式中的展演 69 三、「周樂」的形成:西周鐘磬政治意涵的歷史解釋 74 (一)西周早期 74 (二)西周中期以降 76 小結 79 第三章 競逐完美之樂—— 出土資料所見春秋戰國時期「周樂」的政治意涵 81 前言 81 一、春秋戰國時代的紐鐘、石磬及鎛 81 (一)春秋時代的新器類:紐鐘 81 (二)石磬 83 (三)鎛 83 (四)「周樂」的組合與分布 84 二、春秋時代「周樂」所反映的政治權威與身分階序 90 (一)政治權威與身分階序的複雜化 90 (二)在復古與創新之間的「樂懸」 93 三、展演與交流:春秋時代的國際局勢與鐘磬之樂 97 (一)編鐘鎛銘文傳遞的政治訊息及其意義 98 (二)東方的夷人國家與鐘磬之樂 107 小結 110 第四章 「抑抑威儀」與「以樂論政」—— 文獻中春秋時期的「周樂」與政治論述 115 前言 115 一、鐘磬、禮儀及威儀觀 115 (一)鐘磬、「周樂」及禮儀 115 (二)禮儀儀式中的「賦詩言志」與威儀 118 二、「以樂論政」的政論表述形式 122 (一)以樂論政 122 (二)另一種「以樂論政」:樂官與樂工論政 124 三、「以樂論政」與「賦詩言志」的歷史背景 128 小結 132 第五章 戰國時期文獻中「周樂」的政治意涵—— 兼論《周禮》樂制的雙重性質 135 前言 135 一、戰國時代政治論述中的「周樂」與移風易俗 136 (一)「移風易俗」作為政治論述的歷史背景 137 (二)移風易俗,莫善於樂 138 二、理想制度論述下的「周樂」:《周禮》的樂官制度 142 (一)《周禮》樂官職責與配置 142 (二)《周禮》樂教與周代樂官傳統 145 三、論《周禮》樂制中的「樂隊性質」 156 (一)《周禮》樂舞編制的源流 157 (二)《周禮.春官.大司樂》禘三大祭的數術化傾向 165 小結 175 結 論 179 一、鐘磬組合:作為「周樂」在傳世文獻與考古資料的橋樑 179 二、周樂的政治意涵 180 三、「周樂」政治意涵的形成與文化交流因素 182 四、貢獻與未來展望 184 附錄 187 附表一 出土資料所見商代晚期的小鐃與磬 187 附表二 出土資料所見商周大鐃與晚商鎛 193 附表三 出土資料所見西周時期的鐘磬 199 附表四 出土資料所見春秋戰國時期的鐘磬 211 附表五 《左傳》賦詩 241 附表六 《左傳》引詩 245 徵引書目 263 一、文獻史料與考古資料 263 二、研究論著 274 | |
dc.language.iso | zh-TW | |
dc.title | 金聲玉振——考古與文獻所見「周樂」及其政治意涵 | zh_TW |
dc.title | Bells and Chime Stones: The Political Meaning of “Music of Chou” in Archaeological Data and Literary Sources | en |
dc.type | Thesis | |
dc.date.schoolyear | 109-1 | |
dc.description.degree | 博士 | |
dc.contributor.oralexamcommittee | 沈冬(Tung Shen),陳光祖(Kwang-tzuu Chen),黃銘崇(Ming-chorng Hwang),閰鴻中(Yen Hung-chung),蔡秉衡(Tsai Ping-Heng) | |
dc.subject.keyword | 「周樂」,政治意涵,鐘磬,文化交流,展演性, | zh_TW |
dc.subject.keyword | “Music of Chou”,Bells and Chime stones,cultural interaction,political meaning,display and performance, | en |
dc.relation.page | 281 | |
dc.identifier.doi | 10.6342/NTU202100206 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2021-01-29 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 歷史學研究所 | zh_TW |
顯示於系所單位: | 歷史學系 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
U0001-2701202115440000.pdf 目前未授權公開取用 | 12.87 MB | Adobe PDF |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。