从礼乐一体性看中国文化结构方式
作者：易冬冬 英译：西厢观史
特注：英译版权归搜狐号《社科与翻译》
Observe the Manner of Chinese Cultural Construction from the View of Integration of Ritual and Music
Author: Yi Dongdong translated by : Xi Xiang Guan Shi
The Ritual and Music as a integration is the core of the Chinese traditional culture, and have penetrated the levels such as system of ancient laws and regulations of China, social ethic and the cultivation of the temperament of personality. As time changed, difference in contents yet, its core significance and region are always being stable . Since modern times, when the systematic Confucianism be disintegrated , the traditional Rites and Musics was generally divided into many realms , such as the politics , ethics, law, sociology and so on, and traditional music was then split into disciplinary realms such as aesthetics and art theory, while scholars started to accept the Rites and Musics of traditional culture and construct the Chinese modern academic system with the west system of discipline and ideas. This differentiation of modernity, caused a serious fission in our recognition of the traditional Rites and Musics. How can the integration of the traditional Rites and Musics obtain the transformation in accordance to the Confucianism in modern academics. There are a lot of scholars in modern times , always start from the aesthetics and art , to reconstruct such integration of the Rites and Musics in the modern academics. Such reconstruction unlikely to success immediately, it obtained a maturer form ultimately rather through efforts of scholars of generations .
礼乐是中国传统文化的核心，渗透到古代中国的典章制度、社会伦理和个体心性修养等诸层面。随着时代的变迁，其内容虽不尽相同，但中心意涵和核心区域却始终保持稳定。近代以来，当制度化的儒家解体后，学人以西方学科制度和观念接引传统礼乐文化，建构中国现代学术体系时，传统礼学逐渐分属于政治学、伦理学、法学、社会学等学科领域，而传统乐学则分属于美学和艺术学等学科领域。这种现代性分化，导致我们对于传统礼乐的认识产生了严重分裂。传统礼乐的一体性论述如何在现代学术中获得符合儒家精神的转化？近现代许多学人，多从美学和艺术出发，在现代学术中重构礼乐的一体性论述。这种重构并非一蹴而就，而是经过了一代代学人的努力，最终获得了一个比较成熟的形态。
The Integration of Traditional Rites and Music and Its Modern disintegration
传统礼乐一体性及其现代分化
The allying of the Rites and Musics, originated in the Xia and Shang dynasty, and got its great success in the system of Rites and Musics during the Xi Zhou period. It got its finalizing design of this integration from Confucianism within the Spring and Autumn period, laid the groundwork of this spirit and style of Chinese culture of Rites and Musics. In the system of humanism knowledge which included traditional Confucian classics, history,philosophy and literature; or Six Scriptures,Six Arts, the mentally and theoretically integration of the Rites and Music is more than disparity. It was deepened in its narration of integration through the national practising and performance of this Rites and Musics in every dynasty. Those popular musics that performed without according to the ceremony, were also permeated with the spirit of the Rites and Musics and had their characters of the Ritual and Music. To speak shortly, the traditional Rites and Musics has its incorporate practise on the level of national systems, and has its systematic narration on the culture and thoughts.
礼乐之“结盟”，肇端于夏商，而大成于西周的礼乐制度，其一体性之论述则在春秋战国的儒家那里获得定型，奠定了此后中国礼乐文化的基本风貌和精神。在传统儒家经史子集或“六经”“六艺”的人文知识体系中，礼乐在理论和精神上的一体性远大于差异性。历朝历代在国家层面的演礼典乐之实践，更加深了这种礼乐论述的一体性，而那些未能配合典礼演奏的俗乐，亦多渗透着礼义的精神而具有“礼乐”的性质。要而言之，传统礼乐在国家制度层面有其一体之实践，在文化思想层面有其一体之论述。
The west academics has been introduced to China since 20th century , and scholars of modern times started to reinterpret the Chinese culture of traditional Rites and Musics with the west view and manner of discipline, the Rites and Musics is then split up generally. The music has been absorbed in the aesthetics and art research realm because of its identifying with the view of modern art and aesthetics. And the ritual in this Rites and Musics, was excluded by the aesthetics and art because of its connotation which is too abundant, and its extension which is too broad, and ever been taken by part of torchbearer as the doctrine of the ritual which was anthropophagous , and disobeyed the freedom value that defined by the modern aesthetics during the period of the new cultural movement. From then on, the research of this Rites and Musics by the modern scholars, was somewhat equaled to the music research only, especially be stressed in its value of form aesthetics, other wise, decomposed into categories such as religions , politics, ethics and the law. It is therefore the discussion of integration of this Rites and Musics be thoroughly incised. Leaded by this west view of modern art and aesthetics, some scholars began to criticize the non-self-discipline of the music in the traditional Rites and Musics, so to save the music from the ritual, it resulted in the loss of true features of both the Rite and Music, and the extending of their life under the different disciplines and academic viewpoints.
自20世纪以来，西学传入中国，近现代学人开始以西方的学科观念和方法重新阐释中国传统礼乐文化，礼与乐逐渐分离。其中，乐因为符合现代艺术和美学观念而被纳入美学和艺术研究领域。而礼乐中的礼，则因为其内涵过于丰富，外延过于宽泛，且在新文化运动时期被一部分启蒙思想者指认为“吃人”的礼教，与现代美学所定位的自由价值相违背，而被美和艺术排除在外。自此以后，近现代学人对传统礼乐的研究，或者将之等同于单纯的音乐研究，特别强调其形式上的审美价值；或者只是将礼分解为宗教、政治、伦理和法律范畴，儒家礼乐的一体性论述被彻底切割。在这种现代西方美学和艺术观的主导下，一些学人开始抨击传统礼乐中乐的非自律性，试图把乐从礼中拯救出来，致使礼乐各失其本来面目，在不同学科和学术观念下延续自己的生命。
Rite as beauty and art being consubstantial with the music
礼作为美和艺术而与乐同体
The traditional music of China actually included the poetry and music and dancing as the current thoughts supposed, and be regarded as the objects of the aesthetics and art in the vision of modern academics, absorbed into the research category of aesthetics and art by no reason as to the rite, it hasn’t got too smoothly led in from the view of the aesthetics and art. However, some scholars of modern times, which have sights with west academics and be self-conscious in concepts, did a great effort in this respect. Although all of these scholars considered over the traditional rite of China from the view of aesthetics and art, there are different cores among them, and can roughly be divided into two types : one placed emphasis on the affect relation between the rites and subjects, namely the rite is the rendering of the emotion and the education of sensibility ; the other put emphasis on the objects of art, take the rite as “a form of significance”, or the “sensible present of the idea”,namely the symbol of the view of mentality. Of course , the two are always confluent and bonded together, because the emotion and idea are always combined , many scholars think in both ways of them.
中国传统的乐其实包含现代所谓的诗歌乐舞，在现代学术视野中被看作审美和艺术的对象，已被“理所当然”地纳入美和艺术的研究范围。而对于礼，自近代以来，从美学和艺术学视野所做的接引却没有那么顺畅。但近现代一些具有西方学术眼光和观念自觉的学人，却在这方面做了巨大努力。这些学人虽然都是从美学和艺术角度来看中国传统的礼，但有不同的侧重，大致可以分成两种类型：一种侧重于礼仪与主体的情感关系，即礼作为情感的表现和对情感的教育；另一种侧重于艺术客体，侧重于礼作为一种“有意味的形式”，或者“理念的感性显现”，即作为精神观念的象征符号。当然二者之间又总是交合在一起的，因为情感和理念总是交合的，很多学人在两个方面兼而有之。
There are connotations on multiple aspects and levels for the tradition of China, among them, appearance of rite, measurements of rite, courtesy, literalness of rite, etiquette, are the basic implication of the rite. From the view of the aesthetics, this is a set of systematic code of sensibility, namely the graceful language and behavior in the manner of circulation among people,bowing to each other complaisantly, and to and fro, overlooking and looking up with measuring the rites, presented a certain “splendid perception”, this is as so called beauty . Against this background, the rite also has implications of righteousness with rite, system of rite, order of rite, means logic of the righteousness, system and order as the more abstracted implying. The rite of such implying is just as so called the abstract idea and order,it trends the kindness more. We need to point out however, this is not the direct object of the aesthetics, but the inseparable object of aesthetics. Because the connotation of this aspect and the implication of the first level, are indivisible with each other. From the point of view of tradition, all of the graceful measurements of rite, courtesy, literalness of rite, protocols are setting examples of the righteousness, and the sensible base of which the rite system obtain its legality, and the direct reflection of the order. At this point, on the sense of the aesthetics, the traditional rite of China, is just like the music, can be deemed as the form of the sensibility of beauty which for transporting the ideas, a certain art of representation of affects, it is the foundation of Rites and Musics to obtain its integration in the vision of modern academics.
中国传统的礼具有多侧面、多层次的含义。其中，礼容、礼数、礼节、礼文、礼仪，是礼的最基本含义。从美学观之，这是一套感性的符号体系，即于周旋揖让、俯仰进退中呈现的优美言行，显现一种“灿烂的感性”，这就是美。以此为背景，礼还有礼义、礼制、礼秩的含义，即作为义理、作为制度、作为秩序的更具抽象一面的含义。这个含义的礼，就是所谓的抽象理念和秩序，它更倾向于善。但需要指出的是，这虽然不是美学直接研究的对象，但却是美学研究不可脱离的对象。因为这个层面的含义与第一层含义是密不可分的。从传统来看，一切优美的礼数、礼节、礼文、礼仪都示范着一定的礼义，都是某种礼制获得合法性的感性基础，是秩序的直接体现。就此而言，在美学意义上，中国传统之礼，就像乐一样，可被视为一种传达理念的美感形式，一种表现情感的艺术，这是礼乐在现代学术视野中获得一体性的基础。
The Rites and Music : the Identification of the Beauty and Kindness
礼乐：美与善合一
The Rites and Musics in the traditional China as a integration may depend on each other for survival, one of the most important reason is that, there is rhythm of music involved in the courtesy of circling round and bowing to each other complaisantly. The ritual is a behavior of musicalization, some ceremonies usually need background musics; and in performance of the music, there is also a temperance of rational spirit of rite involved in the immanency of music, besides its externality which is relative to the rites needed to coordinate the practise and implementation. Use this as the background, the rite as a form of sensibility of beauty and even the art, is absorbed into the realm of aesthetics like the music. This is only the basis of the reconstruction for the integration of the Rites and Musics. And the key for discussion the reconstruction the integration of the Rites and Musics, is to treatise the mutual penetration of the Rites and Musics and their seizing each other with meanings under the modern scholarly vision.
礼乐作为一个整体在传统中国之所以能相须为用，一个重要原因即在于，周旋揖让的礼节中，就蕴含着音乐的韵律。礼是一种音乐化的举止行动，在一些典礼中常常需要配乐；而在乐的演绎中，除了它在相对于礼的外在性上要配合着礼的践履之外，在乐之内在性中，也有着礼的理性精神的渗透与节制。以此为背景，礼作为一种美感形式乃至艺术，像乐那样被纳入美学领域，这只是作为礼乐一体性的现代重构的基础。而在现代学术视野下论述礼与乐的相互渗透与涵摄，则是重构礼乐一体化论述的关键所在。
When researching the traditional Rites and Musics from the view of the relation between art and morality, many modern scholars are just accustomed to deem the Rites and Musics as the simple ethical regulation, but none of art’s business, and classify it as the ethics, politic disciplines; and take the traditional music as the simple art of aesthetics, to only advocate its feature of aesthetics, but ignore its inner view of ethics and morality, ignore its symbolic dimensions except for the aesthetics, namely the dimensions which open up to the ethics , politics and religions. It is therefore, the transformation of the traditional Rites and Musics towards the modern times, will not be a sort of joint without a gap, not a smooth acceptance and guiding,but generating a deep crack. Here, the inner integration of the traditional Rites and Musics was cut apart, became the two parts of no relation with each other, and this would be a obscured manner to the intrinsic style of history of the Chinese traditional Rites and Musics.
在从美与善、艺术与道德的关系着眼去探究传统礼乐时，也有很多现代学人习惯于把礼视为单纯的伦理规范，与艺术无涉，在学科归属上归为伦理学、政治学；将传统的乐视为单纯的审美艺术，单纯高扬其审美特性，而忽略其内蕴的伦理道德观念，忽略传统的乐在审美之外的象征之维，即向伦理、政治和宗教敞开的维度。由此，传统礼乐向现代的转化，就不是一种“无缝的对接”，不是一种顺畅的接引，而是产生了深深的断裂。在此，传统礼乐的内在一体性被割裂开来，而成为两个几乎不相关的领域，这就遮蔽了中国传统礼乐文化的历史本然。
From the view of the aesthetics, the Rites and Musics is deemed as both of kindness and beauty, and being musicalized and artistic, and the music was ritualized and moralized. In other words, as far as the modern aesthetics concerned, the integration of the traditional Rites and Musics , is the politically moralization of the aesthetics and arts, and the artistic and aesthetic ways of the morality of politics. Such mutual permeation and seizing the meaning of each other between the art and morality , the aesthetics and politics, namely the integration of inherence, is just like the salt in the water, difficult to be separated with each other. From the perspective of the modern aesthetics, expounding the deep relation between the art and morality, aesthetic and politics of the traditional Rites and Musics, is the core of reconstruction of inner integration of the traditional Rites and Musics. Here , the traditional Rites and Musics are all of the integration of the beauty and kindness, and be artistic and moral, a form of lofty aesthetics. But as to the mutual penetration and grasping each other with meaning between such Rites and Musics, the Rite is more as the artistic and aesthetics ways of political morality, and the music is more as the politically moralization of the arts and aesthetics.
而从美学的视角，礼和乐都被看作既善且美的，且礼音乐化、艺术化了，而乐则礼仪化、道德化了。换句话说，传统礼乐的内在一体性，在现代美学看来，就是艺术和审美的政治道德化、政治道德的审美和艺术化。这种艺术与道德、审美与政治的相互渗透涵摄，即内在的一体性，如盐在水，难分彼此。从现代美学的角度，阐释礼乐中艺术与道德、审美与政治的深刻关系，是对传统礼乐的内在一体性进行现代重构的核心所在。在这里，传统礼乐都是美善一体的，都是既艺术且道德的，是一种崇高的审美形态。但是就礼乐之间的相互渗透涵摄而言，礼更多是政治道德的审美和艺术化，乐更多是艺术和审美的政治道德化。
From the Ritual to the Music: Realm of Aesthetics Surpassed Layer by Layer
从礼到乐：美感境界的逐层超升
Expounding the traditional rite as the beauty and art is just like expounding the traditional music, and interpreting the integration of the
traditional rites and musics , which is in the manner of mutual penetrating and grasping each other with meanings ,as the mutual
permeating and seizing the meaning between the art and morality ,aesthetics and politics, are all of the modern treatises that from the
vision of the aesthetics to reconstruct that integration . Nevertheless, the rites and musics are different after all. The reason that Chinese
modern scholarship dissever the rites and musics is not only because the modern scholarship appreciate the classification of the disciplines, but
also of the difference between the rites and musics, which is the radical reason.
however the modern scholars over-enlarged the difference in such integration, no recognition of this difference that not only shouldn’t
have caused split, but has capacity to provide the deeper spiritual supports to the discussion of this integration of rebuilding the Rites
and Musics. In this part, the point problem is how to interpret the relation among the layers of the poetry, rites, and musics that
constructed by the ancient sacred philosopher, namely “launch from the poem, gain a foothold in the rite, succeed in the music” which advocated by Confucius .(see Taibo ▪ The Analects of Confucius)
将传统的礼，如传统的乐那样，也论述为美和艺术，将传统礼乐相互渗透涵摄的一体性，理解成艺术与道德、审美与政治的彼此渗透和相互涵摄，都是从美学视域重建其一体性的现代论述。但礼和乐毕竟是有差异的。中国现代学术之所以多将礼乐割裂对待，不仅仅是现代学术本身重视学科分类的缘故，其根本原因也的确在于礼乐的差异。但是现代学人过分放大了这种一体之中的差异，而没有认识到，这种差异不仅不应该造成礼乐的分裂，恰恰能为从美学视域重建礼乐的一体性论述提供更深刻的精神支撑。在这一部分，关键的问题是如何理解古代圣哲在诗、礼、乐之间建构的层级性关系，即孔子所谓的“兴于诗，立于礼，成于乐”（《论语·泰伯》）。
The Confucianism is of surpassing the poem teaching, and the music teaching is of transcending the rites. The transcendence about which brought by the music, is the last transcendence, and the purest freedom. This is a road of the improving aesthetics on the basis of the spiritual surpassing which is formulated among the poetry, rite and music by Confucianism. It is therefore such arts become a continuity of aesthetics that symbols the spirit of gradually being emancipated and rose. According to this, the difference between the rites and musics, is not the simple difference between the moral education and the aesthetic education, but the different layers that are corresponded with which the aesthetics and spirit surpassed in the realm of the psychic experience. So to speak, they are all the art and aesthetic education, however, they are in a gradually promoted process of the same nature. The deeper treatise of the integration of such Rites and Music in the modern aesthetics and the vision of art, can be presented by the promotion about which brought by the the spirit and sensuousness of beauty..
礼教是对诗教的超越，乐教是对礼教的超越。乐所带来的超越是最终极的超越，是最纯粹的自由。这是儒家在诗、礼、乐之间规划的一种基于精神超越的审美递进之路，这三种艺术也因此成为一个由精神逐渐解放和升腾所表征的审美连续体。据此，礼教与乐教的差异，就不是一般学者所讲的单纯的德育和美育的差异，而是在心灵经验领域，美感和精神的超越所对应的不同的层次。可以说，它们都是艺术和审美教育，只是处在一个本性相同的递进过程中。礼和乐在现代美学和艺术视野中的更深层次的一体性论述，可以通由它们所带来的精神和美感超越的递进性显示出来。
So far, reconstruction the discussion of integration of Chinese traditional rites and musics by the modern scholars can be summarized in three significant dimensions: the first is that ,the rite and music are both deemed as art, and everyone is the form of affection or aesthetic, and identification of the beauty and kindness. In the practice of aesthetics and art education , it just use the beauty to preserve the kindness, and convert the kindness to the beauty. The second, the rites and musics coordinate with each other on their externality, namely in the ceremony, the rite and music are always existed in their need for each other; and being mutually penetrated through internality, namely the literalness and the ritual include the spirit and rhythm of the music, this is the aesthetic and the artistic way of the political morality. The third, it is a promoted process with step by step that be emancipated from the world from the rites to the musics. Transcendence brought about by the rites is the ready for the state of reveling in the musics. This is a stage of gradually emancipated from the earth. We can summarize the three points above into the theory for integration of the Rites and Musics, the theory for the mutual supporting between the rites and musics, and the theory of which the rite is took as a stage of ready for the coming musicalization of the political life or moralize life, but in general realized the unification of the two(the rite and music) in the vision of modern aesthetics.
至此，我们当能总结出现代学人重构中国传统礼乐一体性论述的三个重要维度：一是礼和乐均被视为艺术，且各自都是情感或美感的形式，是美善的合一体。在审美和艺术教育实践中则以美储善，以善化美。二是礼乐在其外在性上相互配合，即在典礼仪式中，礼乐总是相须为用；在其内在性上相互渗透，即礼仪节文内具音乐的节奏和精神，这是政治道德的审美和艺术化。三是由礼教到乐教所带来的是一种从世界中解放的节节攀升，礼带来的超越是对乐所带来的沉醉的准备，这是一道从大地上获得逐层精神解放的阶梯。我们可以把以上三点概括为礼乐一体论、礼乐互持论和礼乐阶梯论，但在总体上实现了两者在现代美学视域中的统一问题。
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The paper see: Yi Dongdong, (2002).The Rites and Musics: the Integration of the Internal Culture of China. Abstract of Chinese Social Science , 10, pp.9-10
来源：《中国社会科学文摘》2022年第10期P9—P10
Author Yi Dongdong: the researcher from Academy of Marxism in Chinese youth-political institute. The treatise originally issued in journal Aesthetics of China,vol10(social science literature press,2022).
About abstraction of Chinese version: abstracted by Fan Liwei
Translated by : Xi Xiang Guan Shi
作者易冬冬：中国青年政治学院马克思主义学院，原题《传统礼乐一体性及美学重构的三个维度》，摘自《中国美学》第10辑，社会科学文献出版社，2022年1月，范利伟摘