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作 者:丁宸娴 DING Chenxian(School of Liberal Arts,Anhui Normal University,Wuhu 241000,China)
出 处:《皖西学院学报》2023年第4期113-119,共7页Journal of West Anhui University
基 金:国家社科基金(22BZX117)。
摘 要:“礼乐”互动指的是“礼”和“乐”这两种不同的文化形态所形成的关联共生、相济为用的人文特质,其源于周代礼乐文明,以中和的秩序为内在精神,逐渐演变为以儒家美学为主导的审美价值体系、思维形式与意义表达。以此视角探究久为经学名目所掩的唐代“九经”之一《周礼疏》,彰显经学家贾公彦在义疏中展现的儒家审美思考。其《疏》是在唐代初年以礼乐立国的特定历史文化背景中展开的,主要就中国古典美学中的“礼”“乐”关系、“礼乐相济”等论题加以继承与补充,在对律吕、礼器等的诠解中申发了礼乐“中和之美”,还就音乐与政治的关系问题予以探讨,是儒家美学和礼乐审美的重要构成部分,作为官修科举教材,其对唐代及后世的礼乐文化建设给予影响深刻,美学意义不可忽视。The interaction between“rites and music”refers to the humanistic characteristics of the two different cultural forms of“rites”and“music”,which are interrelated,coexisting,and mutually beneficial.It originated from the Zhou Dynasty's civilization of rites and music,with the order of neutrality as its internal spirit,and gradually evolved into an aesthetic value system,thinking form,and meaning expression dominated by Confucian aesthetics.From this perspective,this study explores one of the“Nine Classics”of the Tang Dynasty,Zhouli Shu,which has long been hidden by the name of Confucian classics,highlighting the Confucian aesthetic thinking demonstrated by the Confucian scholar Jia Gongyan in his books that interpret the meaning of the classics.It Zhouli Shu was developed in the specific historical and cultural context of establishing the country through ritual and music in the early Tang Dynasty.It mainly inherits and supplements the themes of“ritual”and“music”in Chinese classical aesthetics,as well as“the combination of ritual and music”.In the interpretation of rules and regulations,ritual vessels,etc.,it extends the beauty of“harmony in ritual and music”,and also explores the relationship between music and politics.It is an important component of Confucian aesthetics and ritual and music aesthetics,serving as a textbook for official imperial examinations.It had a profound impact on the construction of ritual and music culture in the Tang Dynasty and later generations,and its aesthetic significance cannot be ignored.
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