从“三礼”看“乐感文化”的审美实践性

On the Aesthetic Practice of“Musical and Aesthetic Culture”from the Perspective of“Three Rites”

“乐感文化”是对中国人生存智慧的总结,有着鲜明的审美实践特征。伴随着周公“制礼作乐”,“乐感文化”开始逐渐以“礼”“乐”的形式深刻融入人们的日常生活,原本主要用于“歌舞娱神”的“乐”和“供物奉神”的“礼”开始逐渐典章化、制度化,并对先民们的日常行为产生巨大的范导作用。随着这种范导作用的不断深入,先民们的日常生活也不断地出现审美化的倾向。《周礼》、《仪礼》和《礼记》中的相关记载分别在礼制、礼仪和礼器等多个层面鲜活地体现了先秦时期人们的审美实践,是先秦“乐感文化”精神的集中反映。同样,《乐记》中的相关记载也是时人相关审美实践活动的总结。透过“三礼”对“乐感文化”之审美实践性的分析不仅有利于我们增进对古人诗意化生活的了解,更有助于我们认真总结相关实践经验,构建具有中国特色的美学研究范式和本土化的话语体系。

“Musical and Aesthetic Culture”is a summary of the wisdom of Chinese life,which has a distinctive aesthetic practice With the Duke of Zhou's“making rites and making music”,“Musical and Aesthetic Culture”began to gradually integrate into people's daily life in the form of“rites”and“music”The“music”originally used for“singing and dancing to entertain gods”and the“rites”originally used for“offering things to serve gods”began to gradually become institutionalized and institutionalized,and had a huge role in guiding the ancestors′daily behavior The relevant records in Zhouli,Yili and Liji vividly reflect people's aesthetic practice in the pre-Qin period from the aspects of ritual system,ritual and ritual utensils,and are the concentrated reaction of the spirit of“Musical and Aesthetic Culture”in the pre-Qin period Similarly,the relevant records in Yue Ji are also the theoretical summary of people's relevant aesthetic practice activities at that time The analysis of the aesthetic practice of“Musical and Aesthetic Culture”through the“three rites”is not only helpful for us to improve our understanding of the poetic life of the ancients,but also helpful for us to seriously summarize the relevant practical experience and build an aesthetic research paradigm and localized discourse system with Chinese characteristics.