致天地，動鬼神－探究祭孔樂舞中「大合樂」之美學概念

「大合樂」一詞最早出現於《周禮》〈春官宗伯下篇〉，提到以六律、六同、五聲、八音、六舞是為大合樂。在大合樂一詞中，除了包含音樂理論、器樂分類概念、舞蹈學門外，更多的則是形上思想以及先民對於藝術美學價值的追求，以至於可以達到與鬼神溝通、使萬物和諧等神秘力量。本研究透過祭孔樂舞探究「大合樂」的美學思想。其中，祭孔樂舞屬於宮廷雅樂的一種，為祭祀孔子典禮中的樂舞部分，其內容是融合詩歌、音樂、舞蹈為一體的藝術表現形式，繼承了千年來遠古詩、樂、舞合一的特殊性。由於孔子在歷史與文化中擁有崇高的地位，使得祭孔樂舞均為各朝代的統治者所重視，相較於其他雅樂的散佚，祭孔樂舞得以留下較為完整的文獻資料。「大合樂」是先民對於藝術表現的終極價值，故本研究藉由祭孔樂舞此一實例來探究「大合樂」的美學概念，並藉此連接儒家「和」的音樂哲學，並希望由傳統美學的觀點下，為現代跨領域思潮提供更多的參考與借鑑。

關鍵字

祭孔樂舞；大合樂；傳統美學

並列摘要

The word "Da He Yue" (大合樂) was first shown in The Rites of Zhou (Zhouli), chapter "Offices of Spring (春官宗伯, Chunguan Zongbo)", which says six voices, five sounds, eight tones, six dances comes to "Da He Yue". The word "Da He Yue" includes not only musical theory, concepts of instrumental classification, choreology, but also the thoughts and values of arts. The ancestors would like to get the mysterious power to communicate with God, and reach universal harmony through "Da He Yue". This research will investigate the aesthetical thoughts of "Da He Yue" through Confucius Rites. Confucius Rites is a category of imperial music "yayue", and is a part of the Confucius ceremony, which makes the performances of poetry, music, and dances into one. Confucius is a supremely esteemed and revered Sage, who plays an important role in Chinese culture and history. Therefore, Confucius Rites is highly respected by the emperors during every dynasty, and is kept as a tradition until now. There are also lots of archives and references about Confucius Rites left to be studied, not like other Yayue. "Da He Yue" is the top value of performance arts in the past. This research will probe into the aesthetical thoughts of "Da He Yue" with the case of Confucius Rites. Furthermore, by studying traditional aesthetics, this research would like to provide some more new references and ideas for the modern interdisciplinary arts applications.

並列關鍵字

Ritual Dances to Confucius ； Da He Yue ； Traditional aesthetics

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