上博简《颂》之“平德”与《大雅》“盛德”对解  

Comparative Explanation Between "Common Morality" of Song of Shanghai Museum Bamboo Slips and "Grand Morality" of Da Ya

作　　者：杨隽[1] 

机构地区：[1]哈尔滨学院教育科学学院,哈尔滨150080

出　　处：《学术交流》2008年第6期143-147,共5页Academic Exchange

基　　金：黑龙江省教育厅人文社会科学研究项目"典乐制度与周代诗学观念"(11524048)的部分成果

摘　　要：周代典乐制度演诗辅政,综合演诗流程是对周代宗法统治秩序的艺术化展演,是对伦理政治内涵的艺术表述,又是诗乐政治教化的流程,《诗》成为承载周礼政治的重要媒介,这决定了《诗》在结集过程中合典乐之需是关键,《颂》、《大雅》为天子乐,《颂》典于祭祀,《大雅》歌于飨燕,二者在演诗活动中不同的政治使命形成不同的典乐表现风貌,上海博物馆藏战国楚竹书《孔子诗论》以为《颂》与《大雅》的表现风格有"平德"与"盛德"之别,是对《颂》与《大雅》的典乐政治意蕴与艺术风貌的特征性总结,充分证实了周代典乐制度是以多样化的演诗形式为天子至尊的宗法政治建构多层面的政治保障机制以及思想规范体系。Dianyue system of poem - show - aid administration in the Zhou Dynasty and integrated process of poem show were an artistic extension of patriarchal clan order of that time, an expression for ethical and political connotation, and a process of poem - music politics. Shi came to a requirement for Dianyue in the collection and organization, so it gradually became a medium of the Rite of Chou. Song and Daya served for the recreation of Sons of Heaven, Song for fetes, Daya for entertainment. Both of them presented different style for their different political purposes. Confucius~ Poetics from Chu bamboo slips of the Warring States Period in Shanghai Museum illustrated the difference of ＂common morality＂ and ＂grand morality＂ and summarized the characteristics of Dianyue politics and artistic style, confirming the political security system and ideological norm system diversified poem show at the core of a Son of Heaven.

关 键 词：《颂》 平德 《大雅》 盛德 典乐制度 

分 类 号：I206.2[文学—中国文学]