| “Musical and Aesthetic culture”was proposed by Li Zehou on the basis of the comparison between “shame culture” of Japan and “guilt culture” of the West.It is a high generalization of the internal “culture-psychology” structure of the Chinese people and the cultural characteristics of the Chinese culture.On the basis of Li Zehou’s “Musical and Aesthetic culture”and combining with the literature of the Pre-Qin period,this paper makes an in-depth analysis of the origin and formation of “Confucian Aesthetic Consciousness”,its connotation,its core,its main goal and its enlightenment function.As far as the origin of Confucian aesthetic consciousness is concerned,it has a great relationship with the “tradition of witchcraft history” in ancient China: on the one hand,because of the precocity of “witchcraft” in ancient China,China has not formed the strict binary world formation of “here” and “there” as the West,which provides the philosophical background of the “one world” for the formation of the Confucian aesthetic consciousness;On the other hand,as an important form of emotional expression,“witchcraft” performing ceremony also plays an important role in the shaping process of Confucian aesthetic consciousness.Zhou Gong’s “making ritual and music” not only laid the foundation for the Chinese ritual and music civilization,but also played an important role in the formation of Confucian aesthetic consciousness.Confucius equated the relationship between “benevolence”and “propriety” with the relationship between “benevolence” and “propriety” through the combination of music,and the compulsion to change the external into the internal consciousness.He emphasized that benevolence is the essence of music and goodness is the essence of beauty,which can be said to mark the formation of Confucian aesthetic consciousness.As a summary of the spirit of rites and music of Zhou Gong and Confucius,the relevant records in the documents of “The Three Rites” reflect people’s practice of the spirit of Confucian aesthetic consciousness from the aspects of ritual system,ritual etiquette and ritual vessels.At the same time,Yue Ji can be said to represent the deepening of this spirit.Similarly,Xunzi’s Theory of Music and Music books in Historical Records are further summarizing and perfecting the spirit of Confucian aesthetic consciousness in the Pre-Qin period.From the perspective of “Musical and Aesthetic culture”,Confucian aesthetics mainly includes four aspects: the life spirit of “happy life”,the survival wisdom of “music group”,the“optimistic” life attitude and the human nature pursuit of “sense of music”.Firstly,as far as the life spirit of “happy life” is concerned,it mainly includes the life existence view of “unknown life,how to know death”,the life value of “hearing the truth every morning,you can die in the evening”,and the life care of “death is like life”,etc.Secondly,in terms of the survival wisdom of “Le Qun”,it mainly includes two aspects: “to promote propriety” and “to enjoy propriety”.Thirdly,from the perspective of real life,“Musical and Aesthetic culture” also contains“optimistic” life attitude;Finally,in terms of the pursuit of human nature of the “musicl sense”,Confucian aesthetic orientation is not blindly pursuing the material enjoyment,but the constant progress of subjectivity and satisfaction.It is to regard music and aesthetic emotion as the highest completion of human nature,which is an artistic grasp of the highest state of life:“the oneness of man and nature”.It is because that the “Musical and Aesthetic Culture” emphasizes the importance of“emotion”,takes “Neutralization” as the main value orientation,and pays attention to the“inward transcendence” of “from ‘witchcraft’ to ceremony” and “from ‘witchcraft’ to music”as an important realization path of its own value orientation,this paper believes that “emotion noumenon”,“Neutralization” and “inward transcendence” are the core of Confucian aesthetics.This paper respectively analyzes the connotation of “ontology”from the three aspects of mood,situation and emotion,thinks the “ontology” essentially refers to a natural blend of “reasonable structure”,says “the sentiment” from the status of “ontology” is to highlight the emotion in the final reality.Finally,according to human nature,the essence of “feeling noumenon” and“musical culture” is embodied in “feeling” and “music” in the “qualitative isomorphism”.The core function of “feeling noumenon” is mainly embodied in Confucian moral emotion,Taoist natural emotion and Mohist universal love.In addition,this paper also analyzes the goal of“Musical and Aesthetic culture” from three aspects: seeking the harmony between man and inner self,seeking the harmony between man and others,and seeking the harmony between man and nature.It holds that the main goal of “Musical and Aesthetic culture” in the Pre-Qin Dynasty is to “achieve harmony”.It also points out that “from witchcraft to ritual”,“from‘witchcraft’ to joy” and “introverted transcendence” are the main ways to achieve its goals.China is a country of “poetry”.The various types of poems used in the Pre-Qin period can be said to be an important expression of the spirit of “Confucian aesthetics” in this period.The main types of poems used in the Pre-Qin period can be roughly classified into the singing poems and dancing poems of the Western Zhou Dynasty,the composing poems of the Spring and Autumn Period,and the quotations of poems in the debates with others or works of various scholars of the Warring States Period.It was under the influence of the various styles of poetry in the Pre-Qin period that the great trend of viewing poetry in the Spring and Autumn Period was formed.The function of this unique cultural phenomenon is epitomized by composing poems and expressing aspirations.The “view” in the fashion of observing poetry in the Spring and Autumn Period is not only an aesthetic appreciation,but also an observation of the whole situation.It is an observation of the individual’ s mind and even the national customs.Of course,it also involves the investigation of the etiquette and regulations of a country.Under the comprehensive effect of the atmosphere of “Shang Wen” in Zhou dynasty and the trend of poetry in Spring and Autumn Period,the poetic characteristics of Chinese culture in this period began to appear gradually.The main path of Chinese poetic culture can be summarized as:religion → ethics →artistic life.This paper also analyzes the aesthetic education practice of the Confucian education in the Pre-Qin Dynasty from the three aspects of “flourishing in poetry”,“establishing in rites” and“achieving in music” and holds that poetry and music play a very important role in the cultivation of gentleman’s personality.It can not only cultivate the personality of gentlemen and make them have such good virtues as benevolence,integrity,simplicity and integrity,but also make them reach heaven and man through the edification of "elegant music",and even reach the realm of “oneness of man and nature” connected with gods.Finally,from the perspective of the “complementation between Confucianism and Taoism”,this paper briefly analyzes the transcendence of Lao Zhuang’s music over Confucian “music education”,and holds that the Taoist represented by Lao Zhuang’s epiphany of “The supreme joy is no joy” after experiencing the hardships and difficulties of life,the shortness of life and the sadness of human nature requires people to get rid of the shackles of various secular disturbances and restore the freedom of individual life.It can be said that it is a transcendence of Confucian “music education”.In short,“Musical and Aesthetic culture” is one of the core features of Confucian Aesthetics in the Pre-Qin period.This theory with great survival wisdom not only emphasizes individual and contingency,respects the value of individual perceptual life,life and survival,but also has the characteristics of integrating external forced heteronomy with internal life consciousness,and integrating the artistry of etiquette with the poeticization of life.It has unique aesthetic value and practical enlightening significance. |
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