从“维岳降神”到“以舞降神”:先秦自然审美观述略

From “God from Lofty Mountains” to “God from Shaman Dance”:Natural Aestheti cs in Pre-Qin Dynasty

先秦时期的自然审美观念是宗教与伦理、巫术与艺术相互融合的混合体。"维岳降神"反映的是自然崇拜的宗教意识,其内在的理念是自然道德律的作用。自然界存在的绝对大的量对人的心理产生作用后被用于社会伦理崇高人格的写照,将外在自然秩序与人类理性相结合,它的本质是对人的主体价值的否定。"维岳降神"代表了西周初期试图从自然法则中去探索人类社会发展规律的愿望和信仰。"以舞降神"比"维岳降神"前进了一步。"以舞降神"的方法是"巧饰"和"式巧",目的是人主动运用审美的手段来认识和试图改变自然界的某些现象甚至规律。它的本质是对人的主体价值的肯定,它的"巧饰"和"式巧"的方法,即是用艺术的和宗教的方式来把握自然。"维岳降神"和"以舞降神"代表了先秦时期自然审美观的发展趋势。

Natural aesthetics in the pre - Qin period （ before 221 - 207 B. C. ） is a blend of elements from religion, ethic, art and witchcraft. The idea of ＂God from lofty mountains＂ reflects the worship of nature underlined by natural moral law. Human beings feel the overpowering awe of lofty mountains, and the feeling of awe transforms into the sublimity of ethics and morality in the so- ciety. ＂God from lofty mountains＂ represents people＇ s desire and belief in the West Zhou period in their efforts to discover the rules of social development in the nature, but human＇ s value is obscured in the combination between the essence of natural law and rational knowledge. ＂GOd from shaman dance＂ shows advances in that it embodies the law of nature in the aesthetic forms of ＂artful ornaments＂ and ＂formalized craft＂ so that the human value is confirmed in people＇s efforts to understand and change the natual phenomena and its laws. The paper concludes that ＂GOd from lofty mountains＂ and ＂God from shaman dance＂ represent the developmental trend in the natural aesthetic in pre - Qin period.