今天已无法全然了解唐代三大雅乐舞的乐律与舞容,但通过对《上元乐》产生背景、功能转化和乐舞节次的分析,依然可以洞见其所负载的道教教义、宗教哲学和美学信息。唐代是中国古代宫廷乐舞发展的高峰时期,不仅具有严整的雅乐祭祀乐舞,而且构建了完备的燕乐体系,其乐舞构建接纳和借鉴了大量的佛、道文化因素,如《菩萨蛮》、《上元乐》、《紫极舞》等。关于道教对唐朝宫廷乐舞的影响,学界大多把注意力集中于对《霓裳羽衣舞》的讨论,而对《上元乐》等乐舞则涉及较少。其实,作为唐代著名的三大乐舞之 Today, we can not fully understand the musicality and dance capacity of the three yalu dancers in the Tang Dynasty. However, we can still see the Taoist, religious philosophy and aesthetic information they carry through the analysis of the background, transformation of functions and the performance of the music and dance festival. The Tang Dynasty is the peak period of the development of the palace music and dancing in ancient China. It not only has a strict Yaluo sacrificial music and dance, but also builds a complete system of Yan Yue, and its music and dance construction to accept and draw on a large number of Buddhist and Taoist cultural elements, such as “Buddha Man” , “On the yuan music”, “purple pole dance” and so on. As for the influence of Taoism on the court music and dancing in the Tang Dynasty, most scholars pay more attention to the discussion of “The Costume Hanger”, while the music and dance such as “Shang Yuan Le” involves less. In fact, as the three famous Tang Dynasty dance music