从“巫术宗教”到“音乐审美”——论中国上古“以乐为教”传统的建立  

From Shamanism to Aesthetics:On the Chinese Tradition of Music as Education

作　　者：张小雨 ZHANG Xiaoyu(Wenshan College,School of Humanities and Media,Wenshan,Yunnan 663000)

机构地区：[1]文山学院人文与传媒学院,云南文山663000

出　　处：《文化艺术研究》2024年第5期53-60,114,共9页Studies in Culture and Art

基　　金：教育部哲学社会科学研究重大委托项目“儒家思想的当代诠释”(项目编号:20JZDW010)的阶段性成果。

摘　　要：从传世文献来看,早在传说中的“三皇五帝”时期,中国古人便开始了“以乐为教”的尝试。但当时的音乐舞蹈并非独立的教育形式,在先民最初的音乐观念中,是将其作为一种祈求庇护、消除灾难的巫术仪式。音乐高度集中于少数巫师手中,当时所谓的乐教,其实是依附于巫术仪式下的一种巫师职业教育与技能培训。至“五帝”末期,伴随着“绝地天通”的开展,先民们逐渐从原始巫术转向宗教信仰,人之主体性逐渐觉醒。自此,音乐舞蹈作为一种独立艺术形式的自身价值,才得以显现。夏人开始有意识地利用乐舞娱乐自身,而不仅是献享天神,从而实现音乐的世俗化转向。随后,影响中国千年的“以乐为教”传统逐渐建立。According to historical literature,as early as the Mythical Period,the ancient Chinese began experimenting with educating through music.However,music and dance were not independent educational forms at that time.The early concept of music was initially linked to shamanistic rituals intended to seek protection and ward off disasters.Music was controlled by a few shamans,and what was called music as education was essentially a form of professional training for shamans.By the end of the Five Emperors Period,with the mythical Seclusion of Heaven from Earth,people shifted from primitive shamanism to religious belief,and human subjectivity began to awaken.From this point,the intrinsic value of music and dance as independent art forms began to emerge.The Xia people consciously used music and dance for entertainment,not merely for offerings to the gods,marking a secular shift in music.This shift laid the foundation for the tradition of music as education,influencing China for millennia.

关 键 词：乐教 上古史 巫术宗教 音乐审美 儒家乐教 

分 类 号：J601[艺术—音乐]