张载释“乐”的四重面向——以《乐记说》为中心  

On Zhang Zai’s Interpretation of the Four Dimensions of“Music”—Taking The Talk of Yue Ji as the Central Topic

作　　者：郑毅 ZHENG Yi(School of Philosophy and Social Development,Northwest University of Political Science and Law,Xi’an 710063,China)

机构地区：[1]西北政法大学哲学与社会发展学院,西安710063

出　　处：《渭南师范学院学报》2024年第9期80-87,共8页Journal of Weinan Normal University

摘　　要：自《乐经》失传以来,学者对乐的理解多以礼乐文明为主,《礼记·乐记》成为研究中国古代音乐哲学的重要文献。张载好治经,有“诸经说”,其中,《乐记说》比较集中地阐释了音乐的哲学性见解。张载以“记”推“经”,以“说”求“理”,对音乐展开乐本、乐道、乐用、乐象四重面向的论释。乐本是礼乐结构的基本框架,乐道是穷本知变的义理心性,乐用是移人通政的治世目的,乐象是视听体验的直观表达。张载释“乐”的四重面向与其天道观和心性论结构高度吻合,不仅解释了音乐与人的价值关系,而且解决了古乐难求的历史困局。尽管如此,张载的“地缘成因”和“反技术论”仍有可商榷之处。Since the loss of the Book of Music,scholars have mainly understood music from the civilization of ritual and music,and the Book of Rites has become the most important works for studying ancient Chinese music philosophy.Zhang Zai is good at studying the classics and proposes the“theory of various classics”,among which,the Talk of Yue Ji focuses more on explaining the philosophical views of music.Zhang Zai used“recording”to deduce“classics”and“talking”to seek“reason”with expounding and interpreting music from four dimensions:music origin,music path,music use,and music imagery.Music origin is the basic framework of the structure of ritual and music;music path is a moral and moral character that knows change in the face of poverty;music use is the purpose of governing the world by transferring people and promoting political governance;music imagery is an intuitive expression of audio-visual experience.The four dimensions of Zhang Zaishi’s understanding of music are highly consistent with his views on the heavenly way and the structure of his theory of mind and nature.It not only explains the value relationship between music and human beings,but also transcends the historical dilemma of difficult to find ancient music.However,Zhang Zai’s“geogenesi”and“anti technology theory”still have room for discussion.

关 键 词：张载 《乐记》 《礼记》 《乐记说》 音声 

分 类 号：B244[哲学宗教—中国哲学]