传统礼乐的美学重构:以朱光潜和宗白华为例

Aesthetical Reconstruction of Chinese Traditional Rites and Music: Taking Zhu Guangqian and Zong Baihua as Examples

现代人文学术对传统礼乐的重构,尤以美学最为突出。朱光潜认为礼和乐的精神能成为儒家思想学术的一以贯之的基础。传统礼乐在现代美学中的定位,是儒家伦理学、教育学、政治学、宗教-宇宙哲学的起点。宗白华认为,儒家礼法的根基,是人的真性情,即仁,即"音乐的精神"。礼和乐都是古代艺术教育和教化的方式,反映着天地的节奏与和谐,而又与社会生活紧密结合,并使之"端庄流丽"。礼乐艺术,是社会生活和天地精神的中介。朱、宗二人对礼乐的现代美学诠释,在路径上虽有差异,但表现出来的现代礼乐思想,却具有一致性,即礼乐,尤其是礼的"心"学化、乐感化,审美化。礼乐在传统视域中具有一体性,在现代美学观念中同样具有一体性。至此,传统礼乐在现代学科中获得清晰的定位。而他们对礼乐的美学重构,同样构成了中国近现代礼乐思想变迁的一部分。

Modern humanities, especially aesthetics, are the most prominent reconstruction of traditional rites and music. Zhu Guangqian believes that the spirit of rites and music can be the basis of Confucianism. The traditional rites and music in modern aesthetics are the starting point of Confucian ethics, pedagogy, politics, and religion cosmology. Zong Baihua believes that the foundation of Confucian rites is the true feelings of human beings, namely benevolence, namely "the spirit of music". Rites and music, the ways of ancient art education and education, reflected the rhythm and harmony of heaven and earth, and made the social life "dignified and beautiful" with which it linked. The art of rites and music is the intermediary between social life and spirits of heaven and earth. Although Zhu and Zong have different modern aesthetic interpretations of rites, their modern thoughts of rites and music are consistent, that is, rites and music, especially rites have the essence of philosophy of the mind, music feeling and aesthetics. Rites and music share the unity in the traditional aesthetics, and also do in the modern aesthetics. So the traditional rites and music have been clearly positioned in modern subjects. And the aesthetic reconstruction of their thoughts of rite and music constitutes a part of the changes of Chinese modern rite and music thoughts.