- 著者
-
戶川 貴行
- 出版者
- 東洋史研究会
- 雑誌
- 東洋史研究 (ISSN:03869059)
- 巻号頁・発行日
- vol.73, no.4, pp.545-576, 2015-03
Ceremonial court music, the substance of which varied according to the period, disappeared with the collapse of dynasties. Ceremonial music, for example, embraced folk musical works during the Zhou, Han, and Southern and Northern dynasties. While maintaining the pretense of restoring rituals conducted by former dynasties, new elements were, in fact, added to ceremonial music, and consequently the music varied in response to changing times. Previous studies have indicated that such cases can be found in the Han, Northern, and Sui dynasties. Then, can we find similar cases in the Southern dynasties ? If so, what were they like concretely ? The problem of ceremonial music in the Southern dynasties must be clarified in order to show how Jiangnan governments created their new traditions in place of extinct ones, and to provide a perspective on history that differs from Yuanyuanlun 淵源論 of Chen Yinke 陳寅恪. Nevertheless, the problem has never been researched sufficiently from this viewpoint. Based on this point of view, I examine in this paper the scales of ceremonial music adopted by the Jiangnan governments through analyses on the introduction of folk music into the ceremonial music of the Liu Song dynasty, the relationship between such a policy and the scales, the derivation of the Songshichi 宋氏尺, and the length of the shadow based on it. As a result, following four points concerning the actual process of establishing the legitimacy of the Jiangnan governments. First, in addition to the turmoil at the end of the Western Jin, some in the Eastern Jin advocated that state rites should not be prepared until the Central Plains were recaptured, and consequently the ceremonial music of the Western Jin faded away and become extinct. The Liu Song, on the other hand, introduced folk music to make up for such a loss when they prepared ceremonial music. Second, there were gaps between the ceremonial music of the Western Jin and that of the Liu Song in terms of tunings as well as composition of the programs, which were linked to the introduction of folk music and adoption of the Songshichi. Third, when the Jiangnan governments tried to reconstruct ceremonial music using the same scale as that of Xun Xu 荀勖, it had to be recreated almost from scratch given the loss of the Western Jinʼs ceremonial music Yuezou 樂奏 and the musical texts Yueshu 樂書, and it required a large investment of time. Even Emperor Wu 武帝 of the Liang, who was steeped in knowledge of ceremonial music, failed to complete it over 40 years. Fourth, aiming to justify their official adoption of the Songshichi, the Liu Song declared that the Songshichi was derived from the armillary sphere 渾天儀 invented by Zhang Heng 張衡 and that the shadow of an 8 chi 尺 gnomon (based on the Songshichi) attained a length of 1 chi and 5 cun 寸 when it was measured on the summer solstice.