本文選題：唐玄宗 + 樂舞觀　； 參考：《北京舞蹈學(xué)院學(xué)報》2016年04期

【摘要】：唐玄宗的樂舞觀是較為成熟的。在其統(tǒng)治的前期,他清晰認(rèn)識到樂舞與政治的關(guān)系,能夠靈活而節(jié)制地使用樂舞,使其對政治環(huán)境的穩(wěn)定起到了積極的作用。作為唐代音樂造詣最高的帝王,玄宗對樂舞的藝術(shù)性有極深刻的認(rèn)識。他不僅承認(rèn)樂舞的娛樂作用,將其作為享受生活的重要方式,而且肯定樂舞自身的審美屬性,使之從政治的附庸地位獨(dú)立出來。唐玄宗樂舞觀的文化意義在于兩個方面。一方面,他能使樂舞為政治服務(wù),成為鞏固統(tǒng)治、促進(jìn)君臣團(tuán)結(jié)的手段;另一方面,他提高了唐代樂舞的藝術(shù)水平,推進(jìn)了唐代胡漢文化的交流。
[Abstract]:Tang Xuanzong's view of music and dance is more mature. In the early period of his rule, he clearly realized the relationship between music and dance and politics, and was able to use music and dance flexibly and abstinence. He played a positive role in the stability of the political environment. As the supreme emperor of the Tang Dynasty, Xuanzong has a profound understanding of the artistic nature of music and dance. To recognize the entertainment function of music and dance as an important way to enjoy life, and to affirm the aesthetic attribute of music and dance, and to make it independent from the political appendage position. The cultural significance of Tang Xuanzong's view of music and dance lies in two aspects. On the one hand, he can serve the music and dance as a political service, become the means to consolidate the rule and promote the unity of the monarch and the officials; the other side, the other side. He improved the artistic level of music and dance in the Tang Dynasty and promoted the exchange of Hu and Han culture in the Tang Dynasty.

【作者單位】： 長江大學(xué)文學(xué)院;
【基金】：長江大學(xué)社科基金重點(diǎn)項(xiàng)目《楚地樂舞與神話之關(guān)系研究》(項(xiàng)目編號:2015csz002) 楚文化研究院開放式基金《荊楚傳統(tǒng)樂舞的神話特性研究》(項(xiàng)目編號:CWH201511) 長江青年基金項(xiàng)目《楚地神話對楚樂舞審美特征的影響研究》(項(xiàng)目編號:2015cqn15) 長江青年科技團(tuán)隊基金項(xiàng)目《圖像學(xué)研究》(項(xiàng)目編號:2015cqt05)的階段性成果
【分類號】：J722.4
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本文編號：1822973