琴声载道 礼乐象德——摭谈中国传统礼乐文化精神

Gu Qin Carries the Hope of Principle and Li Yue Signifies One's Morality——Some Opinions of the Spirit of Traditional Chinese Li Yue Culture

中国传统礼乐文化多注重研究音乐的外部联系,注重音乐文本理论的著述和研究,而较少涉及、深入到音乐的形态和本体及其内部人文精神,进行审美观照。古琴寄寓了儒家深刻的载道、明志与修身、养性的愿望和希冀。道家所唱之情,佛家所唱之性,儒家所唱之礼,使音乐沦为礼的附庸、政治的奴婢,失去独立的地位和自由发展的可能。在中国传统儒家礼乐文化中,音乐的作用和功能只是停留在了经世致用和比附道德,服务政治的层面和狭隘的范围之内,而真正能体现音乐怡情、畅神、审美的功用和价值,却因此而几乎消弭殆尽。礼乐文化在很大程度上肢解了音乐本体,最终显现为无情之礼乐之道。

The culture of Chinese traditional Li Yue pays great attention to study the external relations of music and research on the writing and theory of music text, but little aesthetic relation to the musical mor- phological features, ontology and its internal humanistic spirit. Gu Qin has carried the hope of principle, insisting one＇s dream and cultivating one＇s morality in Confucianism. In virtue of the emotion in singing of Taoism, the nature in singing of Buddhism and the ritual singing of Confucianism, music is reduced to an appendage of ritual and the slaves of politics. As a result, music loses its independent status and the possi- bility of free development. In China＇s traditional Confucian music culture, the role and function of music is just staying in the narrow range of practical application and presentational morality as well as serving a po- litical purpose. However, the aesthetic, emotional and relaxed function and value of music almost elimi- nates completely. Li Yue culture dismembers the music ontology in a very real sense and finally appeared as a ruthless rule of it.