摘要
本文以历史原典为本,探究殷商之“■”与周之“萬(万)”“萬(万)舞”在政治文化实质上的区别及微妙的联系。明确指出:前者是殷商神职制度的产物,后者是西周礼乐制度的产物。在春秋战国时期,由于东夷旧族及故土之民在文化误读和文字演变(尤其是正简“万”的出现)的双重推动下,征用了商之“■”的概念,形成了周之“萬(万)”和“萬(万)舞”的概念,在非官方的文献著述中用于描述和指称周朝礼乐制度倡导下的正统礼乐和流行的干戚籥翟之舞。这一历史尽管勾连起了商、周主流舞蹈文化间的微妙联系,却改变不了商之“■”与周之“萬(万)”“萬(万)舞”作为不同制度下的产物,在文化本质上的差异以及概念内涵和外延上的迥异。
Based on historical classics,this paper explores differences and subtle connections in political culture between“■”in the Shang Dynasty and“Wan”(萬)and“Wan(萬)Dance”in the Zhou Dynasty.It clearly points out that the former is the product of the clerical system during the Yin-Shang period,while the latter is the product of the rites and music system in the Western Zhou Dynasty.During the Spring and Autumn Period and the Warring States Period,driven by a kind of cultural misreading and the evolution of Chinese characters(especially the creation of the simplified Chinese character“万”),unofficially,ancient Chinese Dongyi people adopted the concept of“■”to describe the popular dance and cultural landscape in the Zhou Dynasty.Thus,the concept of“Wan”and“Wan Dance”was formed.Although this cultural concept shows the subtle relationship between the mainstream dance cultures of the Shang Dynasty and the Zhou Dynasty,differences in the essence,connotations and extension of these two cultural concepts are unchangeable.
出处
《当代舞蹈艺术研究》
2022年第1期1-17,共17页
Contemporary Dance Research
关键词
■
■
萬
萬舞
■
■
万舞
商祭
周礼
东夷
西夷
■
■
Wan(萬)
Wan(萬)Dance
■
■
worship system of Shang
rites of Zhou
East Nation
West Nation
作者简介
刘青弋,女,博士,中国艺术研究院研究员、博士生导师,上海戏剧学院特聘教授、博士生导师,东亚传统宫廷舞蹈国际研究会会长兼联合艺术总监。主要研究方向:舞蹈史论、舞蹈教育。
