《吕氏春秋》“乐政”思想探析
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摘要
"乐与政通"是我国古代"乐"之功能观的重要表征,实质是把乐与政治进行"联姻",突出乐对于政治的教化作用。从《吕氏春秋》有关乐的论述来看,其所谈及的"乐由道生""乐由心生"的这两种关于乐的创生理路以及对乐的审美本质属性"和"与"适"的阐发,最终都指向了"察风以观政"的乐政体式,从而揭露出《吕氏春秋》论乐的政治伦理诉求。
"Music and communication" is an important feature of the ancient Chinese "music" concept of function, the essence of which is the "marriage" between music and politics, highlighting the role of music in political enlightenment. Judging from the discussion of music in Lv's Spring and Autumn Annals, the two creative paths of music and the elucidation of the aesthetic nature of music, harmony and suitability, all point to the musical and political style of "observing the wind and observing politics", thus revealing the theory of Lv's Spring and Autumn Annals on the political ethics appeal of music.
"Music and communication" is an important feature of the ancient Chinese "music" concept of function, the essence of which is the "marriage" between music and politics, highlighting the role of music in political enlightenment. Judging from the discussion of music in Lv's Spring and Autumn Annals, the two creative paths of music and the elucidation of the aesthetic nature of music, harmony and suitability, all point to the musical and political style of "observing the wind and observing politics", thus revealing the theory of Lv's Spring and Autumn Annals on the political ethics appeal of music.
引文
[1]王启才.吕氏春秋研究[M].北京:学苑出版社,2000:27.
[2]陈奇猷.吕氏春秋校释[M].上海:学林出版社,1984:335.
[3]韩伟.吕氏春秋乐论思想疏证[J].陕西师范大学学报:哲学社科版,2014,43(4):76-82.
[4]张双棣.中华经典藏书——吕氏春秋[M].北京:中华书局,2007:47.
[5]李学勤主编.十三经注疏·周易正义(标点本)[M].北京:北京大学出版社,1999:289.
[6]刘成纪.重论吕氏春秋的音乐美学体现[J].中州学刊:文艺研究,2016(3):145-153.
(1)黄钟之宫:古乐以音律来确定五音的高低,用黄钟律所制定的音叫做宫音,它也是其它音阶(商、角、徵、羽)生成的参照标准,按照“三分损益法”以次相生,从而就产生了“十二律”,而黄钟律又为古乐中最基本的乐调之一。
[2]陈奇猷.吕氏春秋校释[M].上海:学林出版社,1984:335.
[3]韩伟.吕氏春秋乐论思想疏证[J].陕西师范大学学报:哲学社科版,2014,43(4):76-82.
[4]张双棣.中华经典藏书——吕氏春秋[M].北京:中华书局,2007:47.
[5]李学勤主编.十三经注疏·周易正义(标点本)[M].北京:北京大学出版社,1999:289.
[6]刘成纪.重论吕氏春秋的音乐美学体现[J].中州学刊:文艺研究,2016(3):145-153.
(1)黄钟之宫:古乐以音律来确定五音的高低,用黄钟律所制定的音叫做宫音,它也是其它音阶(商、角、徵、羽)生成的参照标准,按照“三分损益法”以次相生,从而就产生了“十二律”,而黄钟律又为古乐中最基本的乐调之一。