【亚洲•韩国】宗庙祭礼及宗庙祭礼乐非物质文化遗产项目

 宗庙祭礼是一种在宗庙举行的祭祀仪式，它是朝鲜时代在各类国家级祭祀活动中规模较大、较为重要的一种活动，因此又被称作“宗庙大祭”。宗庙是供奉朝鲜历代君王、王妃及功臣神位的祠堂，与太社、太稷一同被视作国家根基的象征，是最精致最庄严的建筑物。宗庙正殿的19间神室里供奉着以太祖为首的历代王、王妃的神位（共49位），永宁殿16间神室里供奉着另外34位王和王妃的神位。

  宗庙祭礼是在王室内举行的极为庄重的国家级祭祀活动，是由君主亲自主持的一种吉礼。儒教社会把吉礼奉为“五礼”（吉礼、凶礼、军礼、宾礼、家礼）之首，认为吉礼是实践“孝”的根本。朝鲜是以儒教思想为本的国家，认为崇拜祖先是为“人”的基本道理，同时也是治理国家最重要的法度，因此对祭祀格外重视，早期就设有宗庙、太社、太稷，并在这些场所为开国和治国的君主、王室祖先以及对国家发展做出杰出贡献的文武官员举行祭祀。

  宗庙祭礼主要分“定时祭”和“临时祭”两种，根据季节，还举行“荐新祭”，祭品为新鲜水果或五谷杂粮。定时祭除在每年春、夏、秋、冬第一个月（阴历1月、4月、7月、10月）举行外，还在腊月举行“腊月祭祀”（称举行祭祀的那一天为“腊日”）。临时祭每逢国家有喜事或凶事时举行。韩国解放后，宗庙祭礼一度被废止，但从1969年开始得以恢复，由全州李氏大同宗约院主管，每年5月第一个星期日举行。

宗庙祭礼的礼法和礼节是所有祭祀仪式的范例，因此举行祭礼时极为严格庄重。宗庙祭礼的内容主要分为三个部分：迎神、奉神（使神愉悦）和送神。

  具体程序如下：各项准备活动 → 就位（祭礼正式开始前，祭官各就各位）→ 迎神（迎接祖先的神灵）→ 神官礼（君主亲临祭室，焚香迎神）→ 进馔（献谷物、肉等祭品）→ 初献礼（初献官敬酒，跪拜，读祝文）→ 亚献礼（向神灵第二次敬酒）→ 终献礼（敬最后一次敬酒）→ 饮福礼（共享祭品）→ 撤笾豆（撤祭品）→ 送神（恭送祖先神灵）→ 望燎（焚祝文、币）→ 祭后处理。

  宗庙祭礼是严格按照儒教风格举行的最高等级的王室仪礼，而且通过以国家层面实践东方基本理念“孝”，起到了民族共同体内部的纽带作用，同时发挥了维护秩序的作用。宗庙祭礼在宗庙这一具体建筑空间内举行，其庄严洗炼之美是与自然完美融合的东方综合艺术的精髓，是超越500年时间和空间的宝贵的精神文化遗产。

  宗庙祭礼乐是在宗庙举行祭祀大礼时，烘托庄严气氛的器乐演奏及歌舞表演。它的起源可追溯到世宗时期宫中喜礼宴上演奏的乐曲《保太平》和《定大业》。自世祖10年（1464）起，宫廷祭礼开始添加必要的乐曲，并在宗庙祭祀中开始正式采用。后来由于壬辰倭乱的影响，宗庙祭礼乐一度不振，到光海君即位后逐渐开始恢复原有规模，一直流传至今。

  11首《保太平》和《定大业》曲在祭礼进行过程中随不同次序分别采用不同乐器来演奏。在

正殿门前石阶（上月台）上演奏乐曲（没有歌曲伴唱）的乐队称“登歌”，在台阶下演奏乐曲并伴唱歌曲的乐队称“轩架”。

  宗庙祭礼乐流传至今，其曲调及编排随年代变化发生了一系列的改变 。《保太平》和《定大业》的歌曲简练雄壮，内容为歌颂建立伟大国家和使国家不断发展的君主的恩惠。宗庙祭礼乐的演奏时伴有佾舞表演，佾舞有分文舞和武舞两种，它们分别象征文治和武功。文舞是颂扬历代先王文德的舞蹈，舞者在《保太平之乐》伴奏下表演，左手持龠（一种类似于笛的乐器），右手握翟（一种挂有羽毛的道具）。武舞是颂扬先王武功的舞蹈，舞者在《定大业之乐》伴奏下表演，手握刀、枪、弓、箭等木制道具。宗庙祭礼乐的主旋律用编钟、编磬、方响的打击乐器演奏，此外以唐笛、大笒、奚琴、牙筝等管弦乐演奏为起到装饰作用的副旋律，再加入细腰鼓、钲、太平萧、节鼓、晋鼓等乐器和伴唱使音乐更加丰富多彩，其隆重与华丽是其他任何乐曲无可比拟的。
  宗庙祭礼和宗庙祭礼乐分别被国家指定为重要非物质文化遗产第56号和第1号，由专门机构负责保护管理。2001年5月18日，宗庙祭礼和宗庙祭礼乐共同列入“世界非物质文化遗产”名录。

The ancestral temple sacrifice is a kind of sacrificial ceremony held in the ancestral temple. It is a large-scale and important activity in all kinds of national sacrificial activities in the Korean era, so it is also called "the ancestral temple sacrifice". Zongmiao is an ancestral temple dedicated to the throne of kings, princesses and ministers in the past dynasties of Korea. Together with Taishe and Taiji, it is regarded as the symbol of the national foundation and the most exquisite and solemn building. Nineteen chambers in the main hall of the ancestral temple worship the thrones of kings and princesses of past dynasties headed by Taizu (49 in total), while the other 34 thrones and princesses are worshipped in 16 chambers of Yongning Hall.

The ancestral temple sacrifice is a very solemn national sacrificial activity held in the Royal chamber, and it is a kind of auspicious ceremony sponsored by the monarch's relatives. Confucian society regards auspicious rites as the first of the five rites (auspicious rites, vicious rites, military rites, courtesy, family rites), and believes that auspicious rites are the basis of practicing filial piety. Korea is a country based on Confucianism. It believes that ancestor worship is the basic principle of "people" and the most important law of governing the country. Therefore, it attaches great importance to sacrifice. In the early days, there were temples, Taishe and Taiji, and sacrifices were held in these places for the founding and governing monarchs, Royal ancestors and civil and military officials who made outstanding contributions to the development of the country.

There are two kinds of sacrifices in the temple: regular sacrifices and temporary sacrifices. According to the season, new sacrifices are also held. The sacrifices are fresh fruits or cereals. In addition to the first month of spring, summer, autumn and winter (January, April, July and October of the lunar calendar), regular sacrifices are held in December (the day on which sacrifices are held is called the "La Day"). Temporary sacrifices are held whenever there are happy or murderous events in the country. After the liberation of Korea, the sacrifices to the ancestral temples were once abolished, but they were restored from 1969. The sacrifices were held on the first Sunday of May every year by the head of the Datong ancestral convention of Lee's family in the whole state.

The rites and ceremonies of the ancestral temples are examples of all sacrificial ceremonies, so they are very strict and solemn when holding sacrifices. The contents of Temple sacrifices are mainly divided into three parts: greeting gods, worshipping gods (making gods happy) and offering gods.

Specific procedures are as follows: various preparatory activities inauguration (before the official commencement of the sacrifice), greeting gods (to meet the gods of ancestors) sacrificial ceremony (the monarch personally visits the sacrificial room, burning incense to greet gods) intake (cereals, meat and other sacrifices) initial offering (first official toast, kneeling, reading the congratulations) Asian offering (the second toast to the gods) final offering (the most salute). The latter toast drinking gift withdrawing peas sending gods to ancestors burning wishes and coins post-processing of sacrifices.

The Ancestral Temple sacrifices are the highest royal rites held strictly in accordance with the Confucian style, and through the practice of the basic Oriental concept of "filial piety" at the national level, they have played a role as a link within the national community, while playing a role in maintaining order. The sacrifice ceremony of the temple is held in the specific architectural space of the temple. Its solemn beauty of refinement is the essence of the Oriental comprehensive art which perfectly integrates with nature. It is a precious spiritual and cultural heritage beyond 500 years and space.

The sacrificial music of the ancestral temple is a kind of instrumental music performance and singing and dancing performance which sets off the solemn atmosphere when the ancestral temple holds sacrificial ceremony. Its origin can be traced back to the music "Bao Taiping" and "Ding Daye" played at the wedding banquet in Shizong period. Since the 10th year of Shizu (1464), the necessary music has been added to palace sacrifices, and it has been formally adopted in temple sacrifices. Afterwards, due to the influence of Renchen's upheaval, the sacrificial music of the ancestral temple was once depressed, and gradually began to restore its original scale after the emperor Guang Haijun took office, which has been circulating until now.
Eleven pieces of Baotaiping and Dingdaye were performed with different instruments in different order during the sacrificial ceremony. stay

The band playing music (without accompaniment) on the stone steps (on the platform) in front of the main hall is called "Deng Ge", and the band playing music and accompanying songs under the steps is called "Xuanjia".

Since the ancestral temple sacrificial music spread to the present day, its tune and arrangement have undergone a series of changes with the changes of the times. The songs of Bao Tai Ping and Ding Daye are concise and magnificent. They are about the grace of the monarch who built a great country and made it develop continuously. The performance of the sacrificial music of the Zongmiao is accompanied by the performances of Yu Dance, which is divided into two kinds, namely, Wenzhi Dance and Wushu Dance, which symbolize the cultural and military skills respectively. Literary dance is a dance in praise of the ancient Wang Wende. Dancers perform with the accompaniment of "The Music of Baotaiping". They hold the Qi (a flute-like instrument) in their left hand and Zhai (a feathered prop) in their right hand. Wudang is a dance that celebrates the martial arts of the ancestors. The dancers perform with the accompaniment of Ding Daye Music, holding wooden props such as knives, guns, bows and arrows.

The main melody of the sacrificial music of Zongmiao is played with bells, chimes and square sounds. In addition, the orchestral music of Tang flute, Dahu, Xi Qin and Zheng is used as the decorative sub-melody. The music is enriched and colorful by adding such instruments as waist drums, holes, Taiping Xiao, Jie drums and Jin drums. Its grandeur and magnificence are unparalleled in any other music.

The ancestral temple sacrifice ceremony and the ancestral temple sacrifice music are designated as the important intangible cultural heritage No. 56 and No. 1 by the state respectively, and are protected and managed by specialized agencies. On May 18, 2001, the sacrificial rites of the ancestral temples and the sacrificial music of the ancestral temples were jointly included in the list of "world intangible cultural heritage".