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唐玄宗的乐舞观是较为成熟的。在其统治的前期,他清晰认识到乐舞与政治的关系,能够灵活而节制地使用乐舞,使其对政治环境的稳定起到了积极的作用。作为唐代音乐造诣最高的帝王,玄宗对乐舞的艺术性有极深刻的认识。他不仅承认乐舞的娱乐作用,将其作为享受生活的重要方式,而且肯定乐舞自身的审美属性,使之从政治的附庸地位独立出来。唐玄宗乐舞观的文化意义在于两个方面。一方面,他能使乐舞为政治服务,成为巩固统治、促进君臣团结的手段;另一方面,他提高了唐代乐舞的艺术水平,推进了唐代胡汉文化的交流。
Tang Xuanzong’s music and dance view is more mature. In the early period of his rule, he clearly recognized the relationship between music and dance and politics, and used the music and dance in a flexible and restrained manner, making it play a positive role in stabilizing the political environment. As the highest attainments of the Tang Dynasty emperors, Xuanzong on the art of music and dance have a very deep understanding. He not only recognized the entertainment function of music and dance as an important way of enjoying life, but also affirmed the aesthetic properties of music and dance and made it independent from the appendage of politics. The cultural significance of Tang Xuanzong’s music and dance view lies in two aspects. On the one hand, he can make music and dance serve politics and become a means of consolidating the rule and promoting the unity of monarch and minister. On the other hand, he improved the art of music and dance in the Tang Dynasty and promoted the exchange of Hu and Han culture in the Tang Dynasty.