儒家乐教中的感应原理——以《乐记》与《周易·咸卦》为中心  

Stimulus-Response Principle in Confucian Edification by Music:Focusing on Yue ji and Hexagram Xian in the Book of Changes

作　　者：谭惟[1,2] TAN Wei

机构地区：[1]北京语言大学首都国际文化研究基地,北京100083 [2]北京语言大学中华文化研究院,北京100083

出　　处：《周易研究》2023年第6期71-78,共8页Studies of Zhouyi

基　　金：北京语言大学“中央高校基本科研业务费专项资金”(21PT03)。

摘　　要：关于感应思想的研究近年已经拓深到中国哲学和宗教学学科的建构领域,但儒家乐教中蕴含的感应原理却尚未得到足够的重视和彰显。立足《乐记》文本,并藉以中国哲学概念范畴体系中的“体相用”概念框架,可以体系性地呈现儒家的乐教思想:乐教之体为天地之和,乐教之相为礼乐之文,乐教之用为天下皆宁。在与《周易》咸卦义理相比照的视域下,儒家乐教体相用的三个维度分别彰显了感应原理的必然性、运行机制及气化功能等多重意蕴。In recent years,research on stimulus-response principle has extended to the construction of Chinese philosophy and reli⁃gious studies.However,the stimulus-response principle conceived in Confucian edification by music has not been sufficiently high⁃lighted.Based on the text of Yue ji乐记(“Record of Music”,a chapter in the Record of Ritual)and using the conceptual framework of“ti-xiang-yong体相用(noumenon-manifestation-function)”in the conceptual category system of Chinese philosophy,Confucian musical edification can be systematically manifested:the conceptual body of musical edification is the harmony between heaven and earth;its manifestation lies in cultural patterns of rites and music;its function is exhibited as the peace under heaven.Compared with the philosophical connotations of hexagram Xian[■,Influence,Reciprocity,31]in the Book of Changes,the three dimensions of“ti-xiang-yong”are shown as the necessity of stimulus-respond principle,its operation mechanism and its actualization based on Qi(material force)as well as other multiple implications of Confucian musical edification.

关 键 词：感应 《乐记》 《周易》 乐教 体相用 

分 类 号：B21[哲学宗教—中国哲学]