《周禮‧春官‧大司樂》三大祭鄭玄注自古難解。本文注意到,一方面能從傳世文獻裡找到與鄭玄注相關線索,如《史記‧律書》、《史記‧天官書》、《淮南子‧天文訓》等;另一方面,出土資料也與鄭注相應,如湖北周家臺秦簡所載式圖、據甘肅天水放馬灘秦簡《日書》乙種所復原的鐘律式占,以及甘肅武威磨嘴子 62 號墓、安徽阜陽雙古堆 1 號墓等出土之式圖或式盤等。此二者之間的聯繫在於挪用前述出土式圖、式盤的思維模式,即地支、月分、星宿的對應關係。《周禮‧春官‧大司樂》鄭玄注解釋三大祭的路徑並非純然基於音律理論,而須從秦漢傳世及出土文獻的脈絡下理解。同時,除了關注已知的外,亦須注意古代音律理論、數術、天文三者間於秦漢時期可能既存的聯繫。

This article reevaluates Zheng Xuan’s 鄭玄 interpretation of the “Da siyue” 大司樂 chapter in the “Offices of Spring” section of the Rites of Zhou. Few scholars have paid attention to the ways in which Zheng Xuan understands the relationship between the three kinds of sacrifices (三大祭) and the twelve tones in this chapter. In the field of ancient Chinese music history, scholars tend to explain the “Da siyue” according to the later musical theories of the Tang dynasty, thereby dismissing Zheng Xuan’s work. I would like to suggest, however, that many transmitted texts and excavated materials from early imperial China strongly support Zheng Xuan’s commentary. Various records from transmitted texts, including the “Lǜ shū” and “Tiān guān shū” chapters of the Shǐjì 《史記‧律書》 《史記‧天官書》 and the “Tiānwén xùn” chapter of the Huáinánzi 《淮南‧天文訓》 are similar, in that they all contain similar correspondences between the earthly branches 地支, the twelve months 十二月分, and the twelve tones 十二律. In addition, evidence from bamboo and wooden slips, particularly the excavated “cosmic boards” (shi 式) from, e.g., Húběi zhōujiātái qín jiǎn 湖北 周家臺秦簡, Gānsù wǔwēi mó zi zuǐzi tomb 62 甘肅武威磨子嘴子 62 號墓, Ānhuī fùyáng shuāng gǔ duī tomb 1 安徽阜陽雙古堆 1 號 墓 and Gānsù tiānshuǐ fàng mǎ tān qín jiǎn 甘肅天水放馬灘秦簡 also bear resemblance to the transmitted texts mentioned above, implying the possibility of relating them through the same cosmological principle. The way the cosmic boards present cosmology can help us utilize transmitted texts to explain the ideas in Zheng Xuan's commentary.

音律；數術；出土文獻；式；鄭玄注

Zheng Xuan’s commentary to the Rites of Zhou; transmitted texts; cosmic boards ( 式 ); tones; divination