殷周礼乐超越精神释论

On the Transcendental Spirit of Rites-music in the Yin and Zhou Dynasties

“超越性”是儒家礼乐的重要思想特征和价值内涵,“超越性”问题亦是礼乐哲学、美学研究的关键问题。殷商巫礼中的“上帝”信仰孕育了礼乐超越精神的发生机制,但“帝”的至上权威和圣俗浑融的存在性态无法使殷人的超越性意识真正显现出来。西周时期,“德”观念的发生与流行以及“天”作为一种新的精神信仰的出现使礼乐的天人两极、圣俗两端得以挺立,西周礼乐的超越精神亦通过新的天人关系获得确立。这也构成了孔子面对春秋“礼崩乐坏”的政道困局而意图通过化礼归仁的践证方式开启“内在超越”思想突破的问题背景和文化前提。

Transcendence is an important ideological feature and value connotation of Confucian Rites-music system.Transcendence is also a key issue in the study of Rites-music philosophy and aesthetic research.The faith in Di in the witchcraft culture of Shang dynasty gave birth to the mechanism of the transcendence of Rites-music.But,the supreme authority of Di and the existing state of Di that blend the sacred and the secular together could not make the transcendent consciousness of Yin people really manifest.The emergence and popularity of the idea of virtue and the emergence of heaven as a new faith in the Western Zhou dynasty not only established the two poles of heaven and man but also the sacred and the secular.The transcendental spirit of Rites-music was also established through the new relationship of heaven and man.When Confucius faced the political and moral dilemma of the Collapse of Rites-music in the Spring and Autumn period,the above results constituted the background and cultural premise of his practice of turning Rites to Benevolence to open the breakthrough of internal transcendence.