synonymDuke Zhou made ritual(Rites of the Zhou Dynasty) Generally refers to the rites of the Zhou Dynasty (Rites of the Zhou Dynasty)
The ritual system of the Zhou Dynasty should be calledRitual music system, minutesceremonyHarmony consists of two parts.The part of etiquette mainly divides the identity of people and regulates the society, and finally formsranking system。The part of music is mainly based on the hierarchical system of etiquette, which uses music to alleviate social conflicts.The former is the basis and premise of all systems, and the latter is the form and guarantee of system operation.
Western Zhou DynastyThe capital of the dynasty isFengjingandHaojing, known together in history as“Abundant pickaxe”It's said that Duke Zhou's ritual and joy began with Feng Hao[1-3]It is said that in Chengzhou, Duke Zhou and Duke Zhao built the new capital of Luoyang near the Luoshui River, and Duke Zhou completed "ritual making and entertainment"[70-73]。
The most detailed works recording the ritual system of the Zhou Dynasty are《Zhou Rites》Zhou Li, also known as Zhou Guan, stresses the official system and political systemconfucianClassic, a famous politician, thinker, writer and militarist in the Western Zhou DynastyZhou GongdanWritten by[4]。《Redords of the Grand History of China·Volume 33: The Third Aristocratic Family of Duke Zhou of Lu states: "King Cheng is in abundance, the world is secure, and the official administration of Zhou is not in order. Therefore, Duke Zhou is the official of Zhou, and the officials should set up their own policies to facilitate the people." The people said.[5](There is a dispute here. First, it is said that the Zhou official here is Zhou Li[1-3][6], said as《Shangshu·Zhou Guan》[7]）The Book of the Later Han Dynasty Vol. 34 The Twenty fourth Record of Hundred Officials also contains: "In the past, the Duke of Zhou wrote the Official of the Zhou Dynasty. He divided the posts and wrote the Ming Dynasty, and the royal family, though small, could still exist for a long time."[8]
Duke ZhouMaking rites and making music has created a set of concrete and operable rites and music systems, including diet, living, sacrifice, funeral... All aspects of social life have been included in the category of "rites", which imperceptibly regulate people's behavior. This is the ritual system of the Zhou Dynasty.[9]
The purpose of the rites of Zhou Dynasty was to standardize the content of rites and music of all ethnic groups and generations according to the standards of the people of Zhou Dynasty, and to promote it to the ruling classes at different levels through the form of systems;Its significance lies in expanding the influence of Zhou culture, strengthening the blood ties of Zhou people and maintaining the order of patriarchal hierarchy;Its essence is "through the country, set the state, order people, benefit heirs".[10-11]
Modern scholarsGuo MoruoIt is believed that "probably the ritual originated from offering sacrifices to gods, so its word was later used as a symbol, later expanded to show people, and later expanded to various rituals such as auspicious, inauspicious, military, bin, and jia."[12]
"Li" is a symbolic word in oracle bone inscriptions. The original work "Feng" was extended from the sacrificial vessels dedicated to ghosts and gods to the ritual of offering sacrifices to ghosts and gods[13]。The combination of ritual (ceremony) and song and dance (music), that is“rites and music”The original meaning of.Although the deep meaning of the concept of "rites and music" and its complex ideological contentWestern Zhou DynastyHowever, the ritual music practice, as a ritual of serving God, had already appeared in the primitive society.
Zhou Rites
li-yue culture It was conceived in ancient times and formed in“Three generations”The Western Zhou Dynasty was shaped and mature, and was inherited and developed by later dynasties.《Redords of the Grand History of China·Five Emperors' History》Record,YaoAppoint Shun as regent and "fix the Five Rites";ShunHe ordered Boyi to be the Zhizong, the "Three Rites";Shun also appointed Kui as a classical music, "teaching children", "poetry means meaning, song means long words, sound means forever, law and harmony, eight tones can be harmonious, don't compete with each other, god and man can be harmonious"[14]。Historical Records·Leji》It is recorded that "Shun used to play the five stringed zither to sing the southern wind; Kui began to play music to reward princes"[15]。However, as the initial stage of Chinese civilization,Five EmperorsThe era also belongs to the embryonic period of ritual and music culture, or the development of Chinese civilizationShenshouPeriod, i.ewizardCultural period.The Xia, Shang, and Zhou dynasties, especiallyWestern Zhou DynastyIt is the formative period of Chinese ritual and music culture.[16]
As for the origin of rites and music, there are many discussions in ancient classicsa pre-Qin philosopherMade《Ritual theory》And《Music theory》The most typical.
Xunzi's theory of the origin of rites is: "people have desires in life; if they want but cannot, they cannot have no desires; if they want but have no measurement and demarcation, they cannot not fight; if they struggle, they will be in chaos, and if they are in chaos, they will be poor. The former king hated the chaos, so etiquette and justice should be divided".[17]
a pre-Qin philosopherThe theory of music origin of "The people can't live without music, and music can't be invisible, and the form can't be without chaos. The former king hated the chaos, so he made" Ya "and" Song "with the voice of" Tao ".[17]
economic background
The origin of ritual music culture is closely related to the formation of the Chinese nation.The agricultural economy and rural society settled for generations are the economic and social basis for the emergence and development of ritual and music culture.This kind of economic and social basis is fundamentally different from the nomadic economy and city-state social basis on which Western civilization came into being and developed, thus creating a fundamental difference between Chinese ritual and music culture and western religious culture: the former emphasizes filial piety and respect for ancestors and harmonious cooperation;The latter emphasizes belief in God and free competition.[16]
political background
From the Xia Dynasty to the Shang Dynasty, the Wuzhu culture in the Five Emperors era developed to its peak and then declined, accompanied by the breeding and growth of ritual and music culture.Relevant records in ancient documents and a large number of archaeological discoveries, especiallyYin ruinsOracle inscriptionsandWestern Zhou DynastyInscriptions on bronzeThe emergence and research on it present a historical scene from the prosperity of witchcraft culture to the birth and establishment of ritual and music culture.Xia people "obey";Yan people "respected gods"[18]。Famous historianhistorianTherefore, Xia culture is called "obedience culture", and Shang culture is called "worship culture".[16]
In the culture of "respecting life" and "respecting gods" in Xia and Shang dynasties, even in the era of the Five Emperors before that, although ritual music had sprouted and developed to a considerable extent, it mainly existed as an external form to assist religious political activities, that is to say, the ritual music culture at that time was developed in the atmosphere of witchcraft and religion.The people of Zhou Dynasty "respected rites and practiced charity".
According to the Book of Rites, Yan people did not ask people to ask about ghosts and gods, but believed in ghosts and gods to the point where they could not do more. They had to ask divination for everything, and they often had to ask gods and ghosts to determine how many musicians they used for ritual purposes, which was why the number of oracle bones unearthed in the Yin Ruins was so large.The Yan people used religion to maintain their rule, and completely suppressed and intimidated the people with the dignity of gods and ghosts. The meaning of ritual music was to deal with the relationship between people and gods and ghosts. Essentially, it was a primitive religious culture, and the Shang Dynasty was also a primitive religious country[9][19]。At the beginning of the 20th century, archaeologists found more than 100 killing and sacrificial pits in the Yin Ruins. Nearly 600 human bones were unearthed, and 17 children died tragically were buried in two of the pits.One unearthed oracle bone inscription shows that they died in a bloody sacrificial ceremony of the Shang Dynasty.The rulers of the Shang Dynasty feared the celestial phenomena, and the neglect of human life was an important reason for their demise.[20]
In the late Shang Dynasty, witches fell out of favor and dispersed among the people, which was a precursor of "the world will be broken by Taoism" untilKing Wu attacked ZhouThe Duke of Zhou also revolutionized the Shang Dynasty in terms of culture and ideology with the rites of the Zhou Dynasty, breaking the system of witches leading all affairs of the country for thousands of years.[11]
Formation and evolution
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At the beginning of the establishment of the Zhou Dynasty,Zhou GongdanThe ritual music from ancient times to the Shang Dynasty was reorganized and transformed on a large scale to make it a systematic social code system and code of conduct, so as to form the ritual music culture of "being gloomy and gentle" that Confucius admired, that is, ritual music became an important cultural structure covering politics, education, beliefs and other fields, and comprehensively implemented the rule of ritual music within its jurisdiction.The Book of Rites - The Position of Ming Hall records that in the early years of the Zhou Dynasty, "when King Wu collapsed, he became a king and was young and weak, and the Duke of Zhou fulfilled the position of the Emperor to rule the world. For six years, the princes in Ming Hall made ceremonies and made music, issued measurements, and the world was dressed in great clothes.".
Fu Sinian: "The East and West of Yi Xia"
From the beginning of the Zhou Dynasty, rites and music were "applied to gold and stone, more to sound, used for ancestral temples, public places, and worked for mountains, rivers, ghosts and gods";Rites and music culture classics, such as "Yi", "Shi", "Shu", "Li" and "Yue", including gods, heaven and humanity, rules and regulations, appearance and cultural literacy, ideological style and so on;On this basis, the ritual music culture has developed into the standard of national political system and social political ethics.Duke Zhou's "ritual making and music making" marked the formation of the ritual music culture, and also marked that the "spontaneous" compliance with the ritual music culture for a long historical period before this had changed into the "conscious" awareness of the ritual music culture.Since then, Chinese culture has developed from the era of God to the era of state.[16]
The war of King Wu against Yin, the establishment of merchants in Zhou Dynasty and the making of rites and music are epoch-making historical events, representing the rise and fall of two different civilizations.
Fu SinianWritten by《Yixia East West Theory》It is believed that three and three generations ago, the ancient people had the Eastern and Western systems, Xia and Zhou belonged to the Western system, and Yi and Shang belonged to the Eastern system.The drastic changes in Yin and Zhou dynasties "covered the reason of the national prosperity", which was the alternation between two nations and civilizations.[21]
The Yin Shang Dynasty emphasized its "divine mandate", but the Yin Dynasty, which represented the divine meaning, was ruthlessly overthrown. This fact taught the rulers of the early Zhou Dynasty a profound lesson, made them gradually realize the power of the people, and made profound amendments to the traditional religious theology.Its important sign is to put forward "virtue" and emphasize“Respect Virtue and Protect People”It is believed that "virtue" reflects the will of heaven, and "respect for virtue" means "respect for heaven".From "divine mandate" to "respect the heaven and protect the people", it reflects the development and evolution of China's theocratic politics. The rulers attach importance to summing up historical lessons and learning from the experience of previous generations.
The Zhou people were not born atheists. They also believed in gods and ghosts, but they adopted a rational attitude of "respecting gods and ghosts" and not being confused by gods and ghosts. This attitude of the Zhou people is the historical law that "theocracy" gave way to "politics" when Chinese society developed to a certain stage.[9][22]
After the extermination of the Shang Dynasty, the main problem faced by the Zhou people was how to rule the vast Central Plains with a small population of the Zhou family, and how to deal with the political relationship between good people, rather than the religious relationship between people and gods.Therefore, the Zhou people first implemented the system of marquis enfeoffment and nation building politically, that isEnfeoffment systemAmong the vassals granted, the Ji clan accounts for about two-thirds of the total, which is "the people of Zhou Dynasty respect their relatives and respect their teeth"[23], trying to define the hierarchical status of the nobility by blood relationship, and maintainingZong ZhouA political measure of rule.From the emperor of the Zhou Dynasty, to the officials of the feudal lords, to the scholars and common people, each has its own hierarchy and order, and each has its own destiny.[9]
Corresponding to this political measure, the Zhou people reformed the traditional ritual music in the ideological field: they made strict grade regulations on various etiquette and music, and the music used in various etiquette was mainly "elegant music" - that isZong ZhouAbundant pickaxeThe music of the capital city.The purpose of such transformation of ritual music is to standardize the content of ritual music of all ethnic groups and generations with the standards of the Zhou people, and to promote it to the ruling classes at different levels through the form of systems;Its significance lies in expanding the influence of Zhou culture, strengthening the blood ties of Zhou people and maintaining the order of patriarchal hierarchy;Its essence is "by the state, determine the state, order the people and benefit the heirs"[10]。This is also a kind of political means, and it is a kind of governance strategy for the small clan of the Zhou clan and the foreign clan from the ideological aspect.
This is called "governing the country with rites and music".[11]
Pre Qin period
Laozi
Rites and music in the early Zhou Dynasty were exclusive to the aristocrats of the clan. Rites and music were taught in the government and "learned in the government".In the Spring and Autumn Period“Courtesy is not inferior to common people”The system of“Etiquette, evil, joy and death”[24]And thus triggered the rise of the ideological trend of etiquette and music culture in the Spring and Autumn Period and the Warring States Period.LaoziandConfuciusIt is the main representative of promoting the rise of the ideological trend of etiquette and music culture in the Spring and Autumn Period and the Warring States Period.After Laozi and ConfuciusZhuangzi、Mencius, andMozi、a pre-Qin philosopher、Han Feizietc.all classes of authorsIn the ideological trend of ritual and music culture, he reflected on the profound reasons for the "collapse of etiquette and music" in the Zhou Dynasty from various angles, and systematically expounded the connotation and significance of ritual and music culture, which is known as“contention of a hundred schools of thought”And jointly promote the development of ritual music culture and the transformation of ritual music system.[16]
In the face of the tradition of ritual music culture and ritual music system in the Western Zhou Dynasty, as well as the situation of "ritual music collapse" in the Spring and Autumn Period, Laozi, as a Tibetan historian in the Zhou Dynasty, had to reflect deeply on this.He linked the core spirit of rites and music with its Taoist theory, and explained the spiritual value of rites and music in the Zhou Dynasty with its Taoist theory. At the same time, he explained the value connotation of its Taoist theory with the internal meaning of rites and music.To be specific, on the one hand, Lao Tzu inherited the order and simple spirit of the rites of the Zhou Dynasty, and on the other hand, he inherited the harmony and tranquility of music. On the other hand, he gave a new explanation to this spirit and character with Tao. Therefore, to interpret the internal meaning of the rites and music of the Western Zhou Dynasty with Tao theory, both inheritance and innovation, formed his Taoism theory, which deeply reflects the cultural spirit of rites and music.Taoist thought of rites and music is mainly reflected in《The Scripture of Ethics》Medium.
Confucius
Confucius, the contemporary of Laozi, explored and revealed the inner spiritual essence contained in ritual music and its value and significance for society, politics and life from the specific norms of ritual music, thus forming an ideological system of "benevolence" higher than the specific norms of ritual music, and taking it as the theoretical basis of ritual music, so that ritual music is externally defined by the political hierarchy,Become the conscious pursuit of all people, including politicians.He also deleted the classics of ritual and music culture, thus creating Confucianism and becoming the epitome of ritual and music culture.Confucius was born in the first state of Zhou Dynasty with the most prosperous ritual and music culture——State of LuTherefore, he had a special liking for the ritual music culture and system of the Zhou Dynasty.He not only systematically expounded the ritual and music culture in theory, but also popularized the ritual and music culture he elaborated to the public.He started a private school of learning etiquette and music culture, and has 3000 disciples.He teaches his disciples to learn“Six Arts”(Rites and music shoot at the imperial teaching), and rites and music are the first.The Confucian thought of rites and music is mainly reflected in the Book of Rites - The Book of Music and other related documents and ancient books.[16]
Taoist schoolandconfucianThey are the two main ideological forces rising in the ideological trend of etiquette and music culture in the Spring and Autumn Period and the Warring States Period.These two ideological forces not only at that time, but also had a huge and far-reaching impact on the later historical development of China, and even the development of the history of world thought.
The rise of the ideological trend of etiquette and music culture in the Spring and Autumn and Warring States periods and the result of "a hundred schools of thought contending" show that "bad etiquette and music collapse" is only the "collapse" of the feudal patriarchal system in the Zhou Dynasty, and does not mean the collapse of etiquette and music culture.Therefore, some researchers believe that since the Spring and Autumn Period, etiquette has collapsed and music has gone bad. On the surface, it is the feudal lords' arrogance and destruction of the system. In fact, it is social change that requires the etiquette system to be adjusted adaptively.Through the ideological trend of etiquette and music culture and the "contention of a hundred schools of thought", not only has the situation of "etiquette is not inferior to common people" completely changed, but also through the contention and interpretation of Lao Zi, Confucius and other schools of thought, the connotation and essence of etiquette and music culture have been further mastered by the people.Therefore, the trend of thought of ritual and music culture and the "contention of a hundred schools of thought" further established the core position of ritual and music culture in Chinese civilization.[16]
Qin and Han Dynasties
fromQin DynastyAt the beginning, China entered the era of two thousand years of unified empire.In the past two thousand years, the culture of rites and music has always been the theoretical basis and guiding ideology of governance and development in all dynasties of China, and the spiritual home of the Chinese people of all ethnic groups.
Qin and Han DynastiesIt was the first stage of the development of ritual and music culture in the era of China's unified empire.Qin DynastyThe previous Spring and Autumn Period and the Warring States Period and the early Qin Dynasty believed in legalism and practiced“overbearing”。The Han Dynasty learned the lesson of the demise of the Qin Dynasty, and gradually implemented rites and music“Kingly way”The art of.In the early years of the Han Dynasty, it mainly followed the rites and music theory of Laozi Taoism, and it was implemented again in the period of Emperor Wu of the Han Dynasty“Dismiss all schools of thought and uphold Confucianism”The policy is to establish the Confucian thought of etiquette and music culture as its ruling thought of governing the country, thus promoting the first peak of the development of etiquette and music culture in the era of unified empire.From then on, the ritual music culture, which was baptized by the "Hundred Schools of Thought Contending" in the Spring and Autumn Period and the Warring States Period, officially became the mainstream ideology in the era of the unified empire.[25]
Wei Jin Sui Tang
After the fall of the Han Dynasty, the Three Kingdoms, the Jin Dynasty, the Southern and Northern Dynasties, and the Sui and Tang Dynasties were the second stage of the development of ritual and music culture in the era of China's unified empire.Its outstanding feature is the "systematicness, integrity and richness" of the thought and system of ritual and music culture, which made Buddhism, Buddhism, Taoism, Confucianism and Mencius gradually introduced into China from India in the Han Dynasty, forming a situation of "three religions coexist and develop together";Even in a certain period and to a certain extent, Taoism and Buddhism of Laozi and Zhuangzi were superior to Confucianism of Confucius and Mencius: the "respect for Confucius and reading scriptures" in the Northern and Southern Dynasties and the early Tang Dynasty were not enough to compete with the flourishing Taoism and Buddhism of Buddhism of Laozi at that time;During the Emperor Taizong's reign in the Tang Dynasty, the emperor's support for Xuanzang's "Buddhist scriptures in the Western Heaven" and the widespread spread and influence of Buddhism were far greater than Confucianism.However, neither preference for Confucianism nor preference for Taoism or Buddhism has fundamentally affected the core position of ritual and music culture in the development of Chinese civilization.The Sui and Tang dynasties comprehensively summarized and innovated the achievements of ritual and music development since the "three generations", making ritual and music culture develop to another peak.[25]
The Sui and Tang dynasties ended China's long-term division and successively established a centralized and unified multi-ethnic country, with unprecedented economic and cultural prosperity and development.In order to consolidate and strengthen the centralization of power and the unity of the country, the government has also unified the ideology and academia, unified the North South Confucian classics, established a standard version of the Five Classics from the aspects of writing and meaning, issued it to the world, and became a standard textbook for pioneering scholars.[26]
Song Yuan Ming Qing Dynasty
After the fall of the Tang Dynasty, the Five Dynasties and Ten Kingdoms and the Song, Yuan, Ming and Qing Dynasties were the third stage of the development of ritual and music culture in the era of China's unified empire. Its prominent feature was that Confucianism, Taoism and Buddhism became the main schools carrying the Chinese ritual and music culture.These three coexisting schools "contend" and "communicate" within the scope of ritual and music culture, and promote the further development of ritual and music culture at a deeper level.From "Neo Confucianism" in the Song and Ming dynasties to "simple learning", "practical learning" or enlightenment thought in the Ming and Qing dynasties, Confucianism of Confucius and Mencius is superior to Taoism of Lao and Zhuang and Buddhism of Buddhism.From the perspective of regional category, the focus of the development of ritual and music culture in this period gradually moved south.From the Five Dynasties and Ten Kingdoms to the founding of the Southern Song Dynasty, with the southward movement of China's political and economic center, the focus of its ritual and music culture development also shifted from the north to the south.The great Confucian scholars of this period, such as Cheng Hao, Cheng Yi, Zhu Xi, Lu Jiuyuan and Wang Yangming in the Song and Ming dynasties, and Huang Zongxi, Gu Yanwu, Wang Fuzhi in the late Ming and early Qing dynasties, were almost all southerners. They inherited and developed the ritual and music culture system that had long been rooted in the north, and made it have distinctive southern characteristics.The southward shift of the center of gravity of ritual and music culture formed the third peak of the development of ritual and music culture in the era of China's unified empire.
Opium WarAfter the outbreak, the entry of western industrial civilization made the ritual and music culture, the common spiritual home of the Chinese nation, which had produced and developed for more than 5000 years, suffer unprecedented impacts and challenges.For more than one hundred years since then, the advantages and disadvantages between the Chinese civilization with ritual and music culture as the core and the western civilization with religious culture as the core have always been the eternal topic of constant debate among people with lofty ideals from all walks of life.
In the late Qing Dynasty after the outbreak of the Opium War, there were obstinate conservatives who followed the beaten track and did not want to change, revolutionaries who were all westernized and advocating change, westernization groups who advocated "learning from the middle school as a whole and learning from the west as a function", or their variants, the reformists.Because none of them could occupy the leading position in Chinese society, the Manchu Dynasty collapsed rapidly more than half a century after the western industrial civilization entered China."When the country is going to perish, it must be defeated first." The Qing Dynasty could not continue to adhere to and use its own inherent concept of the nation, that is, the spirit of ritual and music culture, and therefore it was bound to perish.
The three stages of the development of ritual and music culture in the era of China's unified empire, plus the formation stage of ritual and music culture in the "three generations" period, the formation and development of Chinese ritual and music culture have four major stages, and four climaxes: the Western Zhou Dynasty, the Qin and Han Dynasties, the Sui and Tang Dynasties, the Song, Yuan, Ming and Qing Dynasties;There are also four low tides: the Spring and Autumn Period and the Warring States Period, the Three Kingdoms, the Jin Dynasty, the Southern and Northern Dynasties, the Five Dynasties and the Ten Kingdoms Period, and after the outbreak of the Opium War.The four stages have a history of more than 4000 years.The witchcraft culture before the "three generations" is the predecessor of ritual and music culture.Therefore, a history of Chinese civilization is actually a history of the development of ritual music culture.[25]
Contents of Zhou Rites
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ceremony
Zhou ritual was established on the basis of rooting out the core wizard culture of Yin and Shang civilization, and it was the distribution system of utensils set by the Zhou Dynasty.
Big Yu Ding
Successive dynasties have standardized and controlled people's material life with various provisions such as "meeting codes", "ordinances", "laws" or "car clothing", "public opinion clothing", "funeral clothing", etc.Therefore, etiquette in China is not only a moral belief and ideology, but also a criterion for distribution of consumer goods and norms for interpersonal communication.Daily utensils have dual values of material treatment and spiritual treatment for consumers.As early as the pre Qin period,a pre-Qin philosopherIt provides the idea for this distribution method: "Virtue must be called position, position must be called salary, and salary must be called use.[27]”Only with virtue can there be position, and only with position can there be salary. We can view position with things, and measure things with virtue. Moral performance and social status are commensurate with the use of wealth tools.Through the hierarchical distribution of daily utensils, power is materialized into the differences of life styles of all classes, which is a social model as well as a cultural model. As Sima Qian said, ritual can "dominate all things and slay the masses"[28]。Managing the heaven, the things and the people is a highly consistent form of ideology and social life.[29]
The bronze civilization in other parts of the world is mainly bronze weapons and tools, while the ancient Chinese bronzes are mainly ritual vessels and musical instruments.The rulers of the Western Zhou Dynasty established a complete system of rites and music to manage the country. Under the strong influence of the culture of rites and music, the cultures of various regions in ancient China began the process of great integration and unification. The civilization of rites and music has become an important symbol that distinguishes the Chinese civilization from other ancient civilizations in the world. The virtues of the nation of rites and music have been passed on to this day.[9]
Historian of Tsinghua UniversityLi XueqinThe author thinks: "The etiquette spoken by the Chinese is actually very extensive, which reflects various characteristics of the social structure and society, and also reflects the unity and universality of society."
More than 2000 years ago, scholars in the Han Dynasty declared that "China is the country of etiquette"[30]。In a sense, Chinese ancient "ceremony" represents Chinese culture, politics and history, so that in the whole western language, no translation word can correspond to the connotation of Chinese "ceremony".
At the time of Shang and Zhou Dynasties, in addition to respecting God and ancestors, humanistic thoughts began to rise, and ceremony and music became the yardstick to measure social and political ethics at that time.When King Wu of Zhou attacked the Shang Dynasty, he announced that the three major crimes of King Zhou of Yin were: neglecting the Ming De of the former king and forgetting the ancestral precepts;Disdain the gods and disrespect the sky;Desperate of people's livelihood, brutal people.These three principles were put forward on the grounds of safeguarding the ancestral temple and the state and worshipping rites and music.The action of King Wu of Zhou to attack the merchants was responded by all the princes. He held high the banner of respecting the heaven and protecting the people, and went all the way east to quickly destroy the merchants.[9]
After King Wu destroyed the Shang Dynasty, in the new relatively unified territory, the Western Zhou Dynasty began to emerge with the idea of respecting heaven and ancestors and protecting the people.
The Zhou Dynasty had a broader territory than the Yin and Shang Dynasties, and adopted the enfeoffment system to effectively exercise the ruling power of the Zhou people.At the beginning of the Zhou Dynasty, more than 70 small countries were enfeoffed, of which the surname Ji of the Huaxia nationality accounted for more than 50. It marked the birth of a new country with the Huaxia nationality as its main body and other nationalities as its members.
With so many vassals, some of which are thousands of miles away from the capital, how can a country with so many people develop in a harmonious and orderly system?King Wu of Zhou's brotherZhou GongdanIt formulated a series of rules and regulations for the Zhou Dynasty, namely "making rites and making music".[9]
The ritual and music system of the Western Zhou Dynasty, while retaining the ritual of serving God, expanded the items of etiquette and the contents of etiquette, so that the political relations, hierarchical order, moral ethics, ideological feelings and other contents of the society are reflected in etiquette and ritual items, and etiquette permeates all fields of ideology and social life.The people of Zhou Dynasty divided rites into five ritual systems, namely, "auspicious, inauspicious, military, guest, and fine". Among them, except that auspicious rites are still ritual for god, the other four are all related to real social life.These five ritual systems are also divided into nine ceremonies, namely "crown, marriage, court, engagement, funeral, sacrifice, guest host, township drinking, and military service". Each ritual has its own specific ritual items and elaborate rituals.In addition, most of the ceremonies have corresponding music cooperation, and different social classes have strict regulations on the scale of bands and the scope of music use, which have become a system that must be observed by all classes of the ruling class.In this way, the social behavior, thoughts, feelings and even political relations of the entire noble class were completely melted into the cultural atmosphere of ritual and music stipulated by the royal family.[11]
ceremonies
The Book of Rites of Zhou · Spring Official describes five ritual systems in detail:
Auspicious ceremony, the ceremony of sacrifice;
A cruel ceremony, a funeral ceremony;
Greeting ceremony is the etiquette from the emperor to the ordinary nobles to meet each other and deal with daily social relations;
Military etiquette, the etiquette used by the army in daily drill, expedition, travel and triumph;
Jiali is a kind of etiquette used for all kinds of celebration activities.[31]
In order to reflect the difference of rites, complete sets of bronze ware should be used according to different levels, whether it is important sacrificial rites or feasts or funerals.In the bronze ritual vessels of the Western Zhou Dynasty, Ding and Gui were used together. Ding was used to hold meat, while Gui was used to hold other food. This combination formed the system of using Ding, which was the core of the etiquette system of the Western Zhou Dynasty.According to the Zhou Rites, the emperor usesNine Cauldrons and Eight GuiThe so-called "Nine Cauldrons of One Word" came from this.However, the dukes could only use seven tripods and six gui, the doctors used five tripods and four gui, and the scholars used three tripods and two gui.The size and quantity of the tripod symbolize the social status of the master.In this way, social identity is standardized, everyone's responsibilities, rights and obligations in society are determined, and a different social order is established.[9]
"Only Wang Jianguo, who distinguishes between the upright and the upright, understands the country and runs the country in an unorthodox way, sets up officials and divides them into posts, and believes in the people."[31]
The fundamental purpose of the legal system established by Zhou Li is to implement the laws and values of the heavenly way in secular legislation under the basic principle that the human order follows the order of the heavenly way, and to guide the actions of monarchs, ministers, and ordinary people into a single order for operation, that is, the so-called“Harmony of Heaven and Man”。[32]
The ancients believed that "propriety" was the embodiment of human morality, ethics and self-cultivation;"Music" is the expression of people's feelings, thoughts and desires.To externalize the abstract, internal and intangible things, such as human morality, ethics, culture and emotion, thought and desire, into tangible "rites" (etiquette) and "music" (music), that is, to externalize the intangible, abstract and concrete, and ideology.
The purpose of Duke Zhou's ritual and music making is to expose people's spiritual world and standardize them in a network made up of ritual and music. Through this tangible network, people's morality, ethics, cultivation, feelings, thoughts and desires are constrained and controlled.The implementation of the ritual and music system made the Western Zhou Dynasty look like a courteous and harmonious country, a sacred world with ethereal elegance and music, but beneath the tangible web woven with ritual and music, there was a strict hierarchical order and patriarchal ethics.The social political relationship (monarch and minister) and interpersonal blood relationship (father and son) are completely bound in the rope net of "rites and music".This is the practical effect of rites and music from the altar to the secular world, and the essence of the "rites and music governing the country" invented by Duke Zhou.[11]
The theory of Duke Zhou is the key to the development of Chinese culture from "God based" to "human based", and the spiritual temperament of Chinese culture, such as "upholding morality" and "human based", has been basically shaped since then.The people of Zhou Dynasty turned from worshiping gods to advocating "destiny", replacing the "God" with "destiny" with more political and ethical meanings, and put forward the ideas of "matching heaven with virtue" and "respecting heaven and protecting people". They believed that the death of Shang Dynasty and the rise of Zhou Dynasty were the reasons why the people of Zhou Dynasty "respected heaven and protecting people", requiring people to follow the rites of Zhou Dynasty and maintain "respect" and "kinship" with ethical and moral principlesAll economic, political and religious principles must obey the ruling order of the Zhou Dynasty, which is also the core of "respecting heaven and protecting the people". For the need of this kind of ethics and politics, the religious view of the Zhou people gradually shifted from the dual worship of gods and ancestors by the Yin and Shang Dynasties to the worship of ancestors.
It was a great social progress for the Western Zhou Dynasty to get rid of the shackles of theocracy and treat the ritual music tradition with a rational spirit;The rulers of the Western Zhou Dynasty used the ritual and music system as a cultural autocratic means to be compatible and controlledZong ZhouThe political relationship with the princes and the patriarchal hierarchical society was also a wise choice under the historical conditions at that time.Zhou GongdanThe idea that "the destiny of heaven changes with virtue" shows that the focus of life in the Western Zhou Dynasty has shifted from the side of the gods and ghosts to the side of human inner virtue.The connotation and characteristics of Zhou Rites are mainly embodied inTo God、Mingde、Protect the peopleIn the ideological system, the influence on later generations is extremely profound.He represented the ideal of the unity of monarch and teacher, and became the political model of the later Confucian ideal“Harmony of Heaven and Man”The origin of ideas laid the foundation for the formation of various social thoughts during the Spring and Autumn Period and the Warring States Period, and became the origin of the explosion of various social thoughts.[11]
Jiali
No country in the world can raise etiquette and music to a political height and use them to govern the country as the Western Zhou Dynasty did. Duke Zhou's "governing the country with etiquette and music" has set a historical example for civilized China, a "state of etiquette and justice".The system of rites and music in the Western Zhou Dynasty created a model for future rulers.The rulers of all dynasties since the Han Dynasty, once they gained power through martial arts, never forgot the cultural policy invented by the Duke of Zhou, and almost all wanted to revitalize rites and music, and“Three Rites”（《Zhou Rites》《The Book of Rites》《etiquette》）The system of rites and music is carried out according to the red and white procedures stipulated in the classics.The policy of "governing the country with rites and music" led to the transition of rites and music from the altar to the secular world.The people of Zhou Dynasty extended the ritual music originally used for the ritual order of gods and ghosts to the ritual order of human relations, and extended the ritual music from the illusory world of gods and ghosts to the real interpersonal relationship. The result must be to expand the social function of ritual music.
With the strengthening of ethical concepts under the norms of ritual and music, the weakening of the concept of ghosts and gods, the primitive passion and romantic wizard culture has been rationally killed, and the status of witches has been reduced from the doctor Yin to a small subordinate officer of the official uncle in early Zhou, and has been further excluded to the folk during the Spring and Autumn Period and the Warring States Period, which can only continue to have a little influence among the lower class people,So far, the wizard culture of the Shang Dynasty completely withdrew from the main stage of history.
If the spiritual life of the Yin and Shang people is not completely divorced from the original state, and their thought and behavior depend entirely on the external ancestor gods, natural gods and gods, then one of the greatest contributions of the Zhou people in the history of the development of Chinese thought is that "in the traditional religious life, conscious spirit has been injected;To promote the achievements of culture in the aspect of implements to expand the concept, so as to inspire the establishment of Chinese moral and humanistic spirit "[33]。"Rites of Zhou Dynasty" is to recreate the core elements of Chinese civilization on the basis of rooting out the core of the Shang civilization and continue to this day. This is what Wang Guowei said: "The transformation of Chinese politics and culture should not take place at the time of Yin and Zhou."[34]
However, although the ritual and music system of the Western Zhou Dynasty created a strong social and cultural atmosphere, it did not conform to human nature and the law of art development because it artificially shaped social interpersonal relationships and communication methods into etiquette, "contracted the music art that expresses human emotions with ritual", and made ritual and music fixed and patterned,Finally, they can only become rigid and abandoned.The ritual and music system of the Western Zhou Dynasty had gone through about three hundred years from the beginning to its gradual perfection. By the late Western Zhou Dynasty, there had been a situation of "rites, evils and music collapsing" because it could not adapt to the development of society.[9]
happy
happy
Zhou Rites strictly distinguished and limited the position of each individual in the society, imposed compulsory restrictions on the citizens from the national system and patriarchal system, and established a hierarchical and differentiated society. In order to maintain harmonious coexistence between people in such a society, the rulers used music and spiritual and cultural charisma as the basic way to communicate emotions,Resolve all kinds of opposites and contradictions caused by the hierarchy and order of etiquette.[35]
The research on the music situation of the Western Zhou Dynasty has traditionally relied on the so-called“Three Rites”, namely "Zhou Li"《etiquette》And《The Book of Rites》, especially the Zhouli, namely《Redords of the Grand History of China·Zhou Benji》Recorded in“《Zhou Guan》”[36]。However, the reliability of these documents is often questioned because of the tampering or even forgery of the Confucians in the Qin and Han Dynasties.Compared with this, the contents of the Western Zhou Dynasty in Shangshu, Yizhoushu, Shijing, Zuozhuan and Guoyu are more credible, but the falsification of some chapters in Shangshu, the addition and modification of Yizhoushu, and the demarcation of the Eastern and Western Zhou Dynasty in the Shijing have also led to a long-term dispute in the academic community.In the face of such difficulties, the traditional Chinese epigraphy, the modern research on bronze inscriptions in the Western Zhou Dynasty, and the massive discovery of musical instruments in the Western Zhou Dynasty by modern archaeology, to some extent, tested the reliability of the handed down literature. However, the limitations of the content of the inscriptions on gold and the limitations of archaeological excavations also made it lack of rich and full documentation.In 1925,Wang GuoweiIn its《New evidence of ancient history》In the middle of the lecture, "The most controversial issue in the study of ancient Chinese history is that legends and historical facts are indistinguishable from each other. There is no doubt that historical facts play a role in the historical facts, and there are always historical facts in the legends." In the face of this situation, Wang Guowei proposed that "paper materials" and "underground materials" should be mutually verified“Double evidence method”[37]。This method has greatly influenced the study of ancient Chinese history since the 20th century, and it is also the methodological guarantee for the emergence of music use and related aesthetic issues in the Western Zhou Dynasty.[38]
According to historical data, the Western Zhou Dynasty was the epitome of ancient Chinese music and a period of high prosperity of music.Press《The Book of Rites · The Book of Music》: "In the past, Shun used to make a five stringed zither to sing the southern wind, and Kui began to make music to appreciate the princes,... The big chapter was also the chapter. Xianchi was ready. Shao was the successor. Xia was the big one. The joy of Yin and Zhou was over.[39]”Obviously, Yin and Zhou were regarded as the peak of the collection and development of ancient music.During this period, the first complete temple music system in Chinese history was established with the "six music" as the center.According to the book "Rites of the Zhou Dynasty, Spring Official", "Six Music" refers to: "Cloud Gate", "Big Volume", "Da Xian", "Da Shao", "Da Xia", "Da Xuan" and "Da Wu"[31]The history of its evolution, from Yellow Emperor to King Wu of Zhou Dynasty, is epic.The odes in the Book of Songs, namely, "Shang Song", "Zhou Song" and "Lu Song", are also within the scope.In addition to the temple music, the music of the Zhou Dynasty can be divided into the music of scholars, folk music and the music of Siyi.Among them, the music of scholars is mainly seen in the Book of Songs, Daya and Xiaoya, and folk music is seen in Guofeng.The joy of the Siyi people did not exist, but it was still expressed in the literature.For example, in the Book of Rites of Zhou Dynasty, the Spring Official Zongbo said, "The Yi family is in charge of the music of the four barbarians and their songs." According to the Book of Rites, the Ming Hall Title, King Cheng of Zhou ordered the Duke of Zhou to enjoy the ritual music of the Son of Heaven in his state of Lu, including the music of the four barbarians, that is, "ignorance, the music of the eastern barbarians. Ren, the music of the southern barbarians. Na Yi barbarians are happy in the temple, and speak widely about Lu in the world.[40]”From this, we can see that the music of the temple, folk music, the music of the scholars and the music of the four barbarians constituted the four forms of the music system of the Western Zhou Dynasty in China.
Chime Bell of Marquis Yi of Zeng
In terms of musical instruments, according to music historiansYang YinliuAccording to the statistics of the Zhou Dynasty, "there are about 70 kinds of musical instruments recorded, of which 29 are mentioned by poets and later seen in the Book of Songs"[41]。Before the Western Zhou Dynasty, percussion and wind instruments had a long history of development, but there was new development in the Western Zhou Dynasty.PressFudan UniversityProfessor of History DepartmentYang KuanHistory of the Western Zhou Dynasty: "The bronze bell was created in the Western Zhou Dynasty, which is an outstanding creation in the history of music development.[42]”According to anotherTianjin Conservatory of MusicVice PresidentFang JianjunTextual research: "In the Western Zhou Dynasty, there were nine body ringing instruments made of bronze, namely Yong, Yong, Xuan, Yong Zhong, Zheng, Duo, Niu Zhong, bell and stone chime, while four air ringing instruments were bone flute, copper horn, Xun and bone xiao.Among them, the percussion instruments Yong, Yong, Xuan, Qing, flute, Xun, etc. are the continuation and development of the musical instruments of the Shang Dynasty, while the Yongzhong, Zheng, Duo, Niuzhong, Tongjiao and Guxiao are the new musical instruments of the Western Zhou Dynasty.[43]”Among wind instruments, bamboo wind instruments have long existed.In the Western Zhou Dynasty, there were "Xiao Guan Bei Ju" in the Book of Songs, Songs of the Zhou Dynasty, "Xiao Ya Lu Ming", "Gu Se and Sheng", and "Xiao Ya He Ren Si", "Zhong Shi and Chi".In addition to percussion and wind instruments, silk stringed instruments came into being in the Western Zhou Dynasty, and the representatives of them are zithers and serfs.These two instruments can be used not only for large-scale elegant music performances, but also for private music performances.The Book of Songs, Guan Ju, says: "My fair lady is a friend of the zither." The Book of Songs, Tang Di, says: "My wife is like a zither." The Book of Songs, Deer Whispering says: "I have guests. I play zither and zither." These verses show that expressing personal feelings through zither and zither has become quite common among the aristocratic scholars of the Western Zhou Dynasty, and also started the music of the later generations.[38]
The diversity of musical instruments in the Western Zhou Dynasty provided conditions for organizing large bands.In the so-called ritual music society at that time, music not only involved all aspects of the daily life of the nobility, but also was an indispensable component of the national large-scale ceremony activities, which required the systematization and institutionalization of the band.According to the Rites of the Zhou Dynasty, there was a so-called "music hanging" system in the Western Zhou Dynasty. During the celebration, different musical instruments were hung in different positions, with bells and chimes on the left and right rows, and drums on the outside corners of the hall.Based on this pattern, the band can be divided into "music in the hall" and "music in the hall". "The main components of the former are singing and stringed instruments. The main components of the latter are percussion instruments, wind instruments and dancing"[44]。At the same time, in order to cooperate with this large-scale ceremony, music must strengthen its expressive force in sound and melody.It not only requires that different musical instruments should be "harmonious in eight tones, without competing with each other", but also requires the same instrument to enhance its performance and effect.As a reflection of the requirements of the times, the combined musical instruments in the Western Zhou Dynasty achieved considerable development, and the chime bells, chimes and chimes became indispensable instrumental forms for the celebration of the dynasty.In addition, the improvement from single tube bone flute and bamboo flute to multi tube sheng yu and panpipe is also an adaptation to this trend.It should be noted that the emergence of this combined instrument, in addition to strengthening the sound effect to match the large-scale ceremony, also directly contributed to the refinement of music.The basic function of percussion instruments is to create a sonorous sense of rhythm, but the same instrument can be arranged into a sequence according to the difference in pitch to deduce melody outside the rhythm.This development trend can be described as the "music of gold and stone" in the Western Zhou Dynasty, which was integrated with the loud and melodious wind music (sheng xiao) and the low and graceful string music (qin se).During the Spring and Autumn Period, Confucius once said when evaluating the cultural characteristics of the Western Zhou Dynasty: "The supervisor of the Zhou Dynasty is in the second generation, and I follow the Zhou Dynasty.[45]”This trend towards "writing" is also clearly reflected in the melody trend of percussion instruments through organization at that time.
Zhou Rites
The Western Zhou Dynasty had a special music organization.According to the Zhouli Chunguan, this organization "is under the leadership of the 'Dasiyue'. The number of staff, including musicians, is 1463 with a clear quota."[46]。It is worth noting that the prosperity of the music of the Western Zhou Dynasty and the lofty value it bestows on music do not necessarily mean that music professionals have a high social status, but are still at the bottom of the social hierarchy.According to Yang Yinliu's "Historical Manuscript of Chinese Music", in the music organization composed of 1463 people in the Zhou Dynasty, "except for a few low-level nobles, 1277 people belong to the serf class.[46]”That is to say, the social status of musicians as the main body of music creation and performance at that time was not benefited by the trend of the times.The reason for this situation is still related to the emphasis of the Zhou Dynasty on music positioning.From the historical data, the emphasis of the Western Zhou Dynasty on music was not related to the playing technology of music, but to the moral education function of music.The so-called "Virtue goes up while skill goes down" in The Book of Rites · The Book of Music is a clear interpretation of the aristocratic class's emphasis on morality rather than skill and morality rather than skill.Against this background, music education played an important role in the aristocratic education of the Western Zhou Dynasty.Dasi Music is not only the leader of national music institutions, but also the director of national higher education.[38]
According to the Book of Rites of the Zhou Dynasty, the Third Uncle of the Spring Official, the aristocratic children of the Western Zhou Dynasty practiced music when they were 13 to 20 years old, and the content involved was: (Dasi Music) teach the children of the country by virtue of music: middle, harmony, justice, mediocrity, filial piety, and friendship.Educate the nation with music language: Xing, Dao, Satire, Chant, Speech and Language.Educate the nation with music and dance: dance "Cloud Gate", "Da Juan", "Da Xian", "Da Shao", "Da Xia", "Da Xuan", and "Da Wu".With six laws, six harmonies, five tones, eight tones and six dances, we can make the ghosts and gods, unite with all nations, harmonize with all people, comfort guests, talk about distant people and make animals.[31]
Although this passage is about music education, it involves the overall positioning of music in the Western Zhou Dynasty:
First of all, musicians engaged in professional creation and performance are at the lowest level of this system because their value is limited to the purely technical level.
Secondly, although technology is metaphysical compared with Tao and art with virtue, the mastery of technology is the premise of virtue cultivation.Therefore, as educatees, noble children should not only master music skills, but also understand music morality in the aspect of mind, learn music language in the aspect of language, and practice music and dance in the aspect of behavior, so as to achieve a comprehensive refinement of mind, language, and behavior.At this level, art and virtue are integrated, and art eventually leads to virtue.
Thirdly, for the governor of the country, the purpose is not only to refine personal virtue and words and deeds, but also to further implement the harmonious spirit of music in social and political practice, so as to achieve the unity of history and reality, royal family and state, human and nature, and then to create a musical ideal world.Here, from professional musicians, aristocratic children to national rulers, it marks a continuous escalation and amplification of music from technology to virtue, and then to political metaphor.[38]
method
Rite is the framework of the political system field, music is the reconciliation of the ideological field, and the mandatory law promotes the realization of the ritual system.
There are three functions of Zhou Rites:
First: Don't be humble or noble.It is a tool to distinguish between high and low, high and low, old and young, close and distant, maintain patriarchal system, and adjust social relations.
Second, the state determines the state.It is the fundamental guiding principle of governing the world, the people and the state, and the ideological basis of adjusting social relations and national life.
The third is to clarify laws and educate people.Governing a country requires etiquette and law, just as "balance is for the weight, rope and ink are for the curve and straight, and rules are for the square"[47]；"We should not be good at propriety when we govern the people in peace"[48]；"The way to govern people is not to rush for ceremony"[49]；"Those who govern the world by bowing to others are also called rites and music"[50]。Therefore, some researchers believe that "from the perspective of law, ritual is very similar to today's fundamental law, which is the basis of all political life in the Western Zhou Dynasty"[51]。The Book of Rites - Jingjie also said: "The civilisation of rites is also marked, and its evil suppression is also unformed, which makes people move from good to evil without knowing themselves.[52]”That is to say, Zhou Rites can educate people, make them avoid evil and turn to good, and eliminate crimes in the "unseen".This shows that the ritual of the Western Zhou Dynasty not only has the function of fundamental law, but also has the function of general enlightenment.[53]
The spirit of etiquette and law in the Zhou Dynasty is concentrated onPatriarchal clan systemOn.[54]
Western Zhou Dynasty Feudal Map
Patriarchal clan systemAs early as the primitive clan period, the patriarchal system had sprouted, but as a complete system to maintain the relationship between nobles, it was the Western Zhou Dynasty.Under the patriarchal system, "the emperor established his country, the marquis set up his family, the minister set up his side room, there were two families of officials, and the scholar had his subordinates"[55], forming a systematic and complete management system.
The patriarchal clan system is a right inheritance system that distinguishes the close and distant according to the blood lineage. It originates from the patriarchal clan system, and its core is the first born son inheritance system. It is mainly used to distinguish the close and distant relationship between the common people and the common people. The purpose is to establish the inheritance right of status and property within the family, improve and consolidate the enfeoffment system, and prevent disputes between nobles due to the inheritance of power.Dafang has the right to inherit property within the family, so he is respected by the Shuzong, which is called "respecting the ancestors".[56]
The essence of Zhou rites is to maintain the hierarchical order of the relationship and position of social members within the patriarchal system.It has the nature of legal enforcement, and also has the role of calling and preaching in ethics and morality, such as respecting relatives, monarchs and ministers, loyalty to monarchs and filial piety, etc. Finally, as a moral concept, it has become the main content of Chinese culture.On the basis of limited productive forces and military political power, Zhou people designed a whole set of superstructure and ideology from political system to code of conduct and moral norms, and ethical thoughts.Later, the rites and music collapsed, but the social grass-roots level did not change. It was still pastoral agriculture and the clan structure adapted to this mode of production. It was just the social management work undertaken by bureaucrats, which also strengthened the centralized regime unprecedentedly.[57]
Division of the common people
The patriarchal clan system originated from the patriarchal family.With the development of society, the long primitive matriarchal clan society was gradually replaced by the patriarchal clan society, and finally established the dominant position of patriarchy in the family. The history of the ancient people "knowing the mother but not the father" finally came to an end.
Patriarchal patriarchal families generally practice "polygamy", and among the wives, they are directly related to the commoners. The patriarchal system is to divide all children into "directly related" and "common" based on their mother's identity and the birth order of their children.Di, the right wife is Di, and the son born by the right wife is Di Sheng, Di Zi, which means authentic.A concubine is a collateral branch. The son born to a concubine is called a concubine.The common people are small clans.Only the first born son is the only legitimate person to inherit the throne or title. Even if the commoner son is older or more talented than the first born son, he has no right to inherit.This enables younger brothers to be unified with older brothers, and smaller clans to be unified with larger ones.Although concubines cannot inherit the throne, they can get other titles next to the throne.For this reason, the Zhou Dynasty created the "enfeoffment system" according to the basic principles of the patriarchal system.[58]
Fifth rank
After the Zhou Dynasty enfeoffed the vassal states, the "tribes" that existed for a long time in ancient times gradually disappeared and were replaced by the enfeoffment.At the beginning of the Zhou Dynasty, the feudal states had equal status and were directly under the jurisdiction of the central government. However, the titles of the monarchs were different, so the size of the feudal states varied.The Zhou Dynasty divided the titles of the monarchs into five levels, namely, "Duke, Marquis, Bo, Zi, and Man", and there was a sixth level "vassal" below the fifth level.The vassal state has a smaller area and is attached to a larger feudal state.The emergence of these five ranks of titles was based on the relationship between the legitimate and the common people in the patriarchal system.[59]
All the monarchs who were granted a state were collectively called "princes".At the beginning of the Zhou Dynasty, the situation of the five tier fiefs and vassal states was as follows:
Schematic diagram of patriarchal clan system
The Principality covers an area of 50 square kilometers, such as Qi and Lu
Houguo covers an area of 35 square kilometers, such as Jin
Boguo covers an area of 35 square kilometers, such as Shen
25 square kilometers of sub countries, such as Huang, Luo, Zhu and Zhu
Male country 25 square kilometers such as: Xu
Subordinates less than 25 square kilometers, such as Xiao
It can be seen that the territory of the vassal states in the early Western Zhou Dynasty was very small, and many of them were just cities.Eastern Zhou DynastyAt the beginning, the vassals merged with each other, the city of Xinjiang gradually expanded, and the vassals and great powers established their capitals, and became an independent kingdom competing with the Zhou royal family.
In the Western Zhou Dynasty, in addition to the direct enfeoffment of various princes by the central government, the princes were redistributed within themselves and their territories.Generally, the princes left their central areas for their own direct rule, and the rest of the land was then granted to their relatives other than their firstborn son, the officials of the Qing Dynasty. Such fiefs were called "fiefs", and the officials of the Qing Dynasty also divided their own fiefs to their relatives other than their firstborn son, the officials of the Qing Dynasty, called Lutian.As a result, a unified hierarchical political structure of patriarchal enfeoffment centered on the royal family, radiating around and guarded by the surrounding arches was formed in the whole country.[59]
1. The legitimate eldest son inherits the throne and the throne of the country, and the rest of the commoners are enfeoffed elsewhere;
2. The feudal lords were divided into five ranks: duke, marquis, uncle, son and male;
3. The vassals then granted part of their territory to the Qing Dynasty officials as fiefs, and the Qing Dynasty officials gave part of their fiefs as land for salaries.In this way, the Zhou Dynasty and the enfeoffment vassals guaranteed their blood clan rule for generations, and the whole country became a family.[59]
King Mu Executes Lu Punishment
The hierarchy concept under the patriarchal clan system is very strict, hierarchical, and orderly. It takes the blood relationship as the link and the relationship between the monarch and his subjects as the discipline, ensuring the political monopoly and privileged status of the nobility, and maintaining the stability and unity within the aristocratic group under the rule of the nobility.The hereditary system, the enfeoffment system and the enfeoffment system together constituted the main body of the political system in the Xia, Shang and Zhou dynasties, which had a profound impact on Chinese society.[56]
The patriarchal clan system of the Western Zhou Dynasty also had a significant impact, that is, the birth of surnames.The patriarchal clan system directly led to the system of enfeoffment. The splitting of the earth and the division of the border divided the whole world into various vassal states, which produced many manors of officials.The fiefs were divided into numerous Lu fields.Since the place names of the vassal states, fiefs (Yi, Guan), and Lutian (Xiang, Ting) were directly changed into "family names" (taking the state as the surname, the capital as the surname, Guan as the surname, the township as the surname, and the Ting as the surname), the Chinese people's surnames have blossomed everywhere and increased suddenly, and the Ji people's surnames have undergone great fission, differentiation, and derivation, resulting in more than 2400 surnames,This is the fundamental impact of the patriarchal system on Chinese surnames.[56]
Connotation of Zhou Rites
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The ritual music culture formed in the Western Zhou Dynasty and interpreted by various schools of thought in later generations has two meanings: one is ritual, the other is musical.
The so-called "ritual" is the establishment of people's external behavior norms;The so-called "Lehua" is the cultivation of people's internal spiritual order.
The Confucian classics "The Book of Rites · The Book of Music", "The Book of Rites · The Book of Music" and Sima Qian's "The Book of Rites · The Book of Music" have recorded: "There are three books of etiquette: heaven and earth are the origin of life; ancestors are the origin of human beings; teachers are the origin of governance. There is no heaven and earth, evil is born without ancestors, evil is born without masters, and evil is governed without masters.Therefore, etiquette is the three basic principles of etiquette."Music is the origin of sound, which is based on the feeling of human heart and things";"Every sound is born in the heart of the people; music is connected with ethics. People who know the sound but don't know the sound, animals are the same, people who know the sound but don't know the music are the same. Only a gentleman can know the music. Therefore, we should judge the sound to know the sound, the sound to know the music, the music to know the politics, and the governance to prepare".[16]
The function of "ritual" is to distinguish order, and the function of "musical" is to coordinate up and down.Therefore, order and harmony are the main thrust of ritual music culture.The cultural classics of rites and music have discussed the different characteristics and functions of "ritual" and "musical", such as:;Another example: "Music is the same, ceremony is different. The same means close, different means respect"."Music is the same, ceremony is different, and the theory of etiquette and music is consistent with human feelings.".Another example is: "Happiness is the harmony of heaven and earth; propriety is the order of heaven and earth, so all things are harmonious; order is the difference of all things", "great joy is the same with heaven and earth, and great ceremony is the same with heaven and earth";"Music is made by heaven, and rites are made by the earth. If one goes too far, chaos will ensue, and if one goes too far, violence will ensue. It will become clear to heaven and earth, and then one can develop rites and music.".Another example is: "Etiquette is popular among the people, music and the voice of the people, and politics should be carried out in order to prevent punishment. Etiquette, music and punishment should not be inconsistent with each other, and then the king should be prepared"; "Etiquette and justice should be established, and then the high and low should be equal; music and literature should be the same, and then the high and low should be harmonious".[16]
"Etiquette" and "music" are the manifestations of the "yin and yang" dualistic characteristics of all things revealed in the Book of Changes. "Etiquette" is yin, "music" is yang, "ceremony" is real, "music" is empty, "ceremony" is the meaning of external social order, and "music" is the meaning of internal emotional harmony;The two complement each other, integrate with each other, promote and transform each other.Therefore, "rites" and "music" are the fundamental signs and essential characteristics of human beings, among which "music" is higher than "rites". Therefore, Confucius believes that the process of human beings becoming human beings is "to rise in poetry, stand in ceremony, and become happy".[16]
Later influence
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Politics
The so-called "ceremony" is the general name of a series of spiritual principles and norms of words and deeds that have long existed in ancient Chinese society and maintain the blood relationship and patriarchal hierarchy.In the ritual system of the Western Zhou Dynasty, the abstract spiritual principles can be summarized into two major aspects: "respect" and "intimacy".The so-called "kissing" means that within the family scope, everyone should kiss their relatives and grow their strengths. Everyone should act according to their own identity, and should not be bullied by others.Moreover, the "close" father is the first, and all members of the family should focus on their parents.The so-called "respect and respect" means to respect all the people who should be respected within the social scope, and the monarch and his subjects, the upper and lower levels, the noble and the lowly should strictly abide by the status.All subjects should be centered on the monarch.Under the two principles of "kinship" and "respect and respect", specific spiritual norms such as "loyalty", "filial piety", "chastity" and "righteousness" have been formed.In the Western Zhou Dynasty, as a positive norm, rites had the nature and function of law, and fully possessed the three basic characteristics of law, namely, normalization, national will and compulsion, which played a practical role in adjusting all aspects of social life at that time.Rites are considered as the top priority of "governing the country, determining the state, ordering people, and benefiting heirs", which permeates all social fields.
Many ritual systems in Zhou Li have influenced hundreds of generations.For example, it has been implemented since the Sui Dynasty“Three provinces and six ministries”The "Bu" in the "Zhou Li" is modeled on the "Guan" in the "Zhou Li".In the Tang Dynasty, the six ministries were named as officials, households, rites, soldiers, criminals and workers, which were the main bodies of the central official system and followed by later generations until the demise of the Qing Dynasty.
The revised codes in previous dynasties, such as the Six Codes of Kaiyuan in the Tang Dynasty, the Rites of Kaibao in the Song Dynasty, and the Rites of Daming in the Ming Dynasty, were also based on the Rites of Zhou Dynasty and considered the gains and losses.
The Book of Rites of Zhou contains rich thoughts on governing the country. Tianguan is summarized as ten principles, including "six codes", "eight methods", "eight rules", "eight handles", "eight unifications", "nine posts", "nine fu", "nine martial arts", "nine tribute", and "nine liang", which are further elaborated in the narratives of local officials, spring officials, summer officials, and autumn officials,It has a profound impact on the promotion of the administration thought of later generations.
The Zhou Rites adopted the policy of combining Confucianism with Legalism and combining morality with punishment for officials and common people, which not only showed a fairly mature political ideology, but also had management skills to control all officials.The measures to manage the property in the treasury are rigorous, meticulous and mutually restrictive, which reflects the superb operational research wisdom.There are many systems that still have vitality and can be used for reference.At the time of major changes in history, there are many people who take Zhouli as an important ideological resource to find ideological weapons for reform or reform.For example, the reform of Wang Mang in the Western Han Dynasty, the Ningwen Zhou Revolutionary Code in the Six Dynasties, and the Wang Anshi Reform in the Northern Song Dynasty all took the Zhouli as the standard.At the end of the Qing Dynasty, foreign and domestic troubles were pressing. In order to save the declining trend, Sun Yirang wrote "Zhou Guan Zheng Yao", which proved that the "Zhou Li" contained no less governance than the West.Ding Ruoyong (No. Chashan), a famous scholar in the late Korean era, once wrote a 300000 word List of World Heritage, advocating the reform of the Korean political system with Zhou Li.[60]
education
Etiquette and law education
In the Rites of the Zhou Dynasty, there are twelve rules of etiquette, which are called "twelve teachings".
Zhou Li's enlightenment on the people of the world emphasizes the reading of government decrees and the learning of rites and music.According to the Rites of the Zhou Dynasty, only by letting the people and officials have a deep understanding of the Kingdom's policies and laws can the country be upright and the people be reconciled.Learning rites and music is the edification and training of the behavior and moral standards of the people.There are five kinds of ritual contents in the "Twelve Religions". This kind of politics and religion, which takes "ritual" as its teaching, fully reflects the rulers' respect for "ritual" in ancient times.
Moralization
The Zhou Rites, while carrying out the twelve teachings to educate the people on etiquette, also promulgated the "three things in the countryside" and carried out moral education.
In terms of content, the "six arts" in the "three things in the countryside" are education of six disciplines. The "five rites" are etiquette education, the "six music" are special education of music and dance, the "five shots" and the "five controls" are skill education of archery and driving, the "six books" are enlightenment education of literal knowledge, and the "nine numbers" are education of mathematical knowledge.It can be seen that the rural education in Zhouli has begun to take shape.It not only formulated the educational laws and regulations of "three things in the countryside", but also established a relatively complete range of educational sciences, providing a reference for the later generations to start schools and school education.
Vocational education
According to the needs of the autocratic rule of the nobility, Zhou Li strengthened the people's professional consciousness, conceived the "Twelve Duties", and practiced professional education for the people.The Rites of the Zhou Dynasty · Underground Palace · Dasi Tu: "There are ten things to do in the capital of the state to enable people to ascend to all the people. There are one thing to do: crop masts, two things to do with trees, three things to do with materials, four things to do with Fufan, five things to do with decorations, six things to make money, seven things to make money, eight things to collect money, nine things to do with raw materials, ten things to learn skills, ten things to do with the world, ten things to do with services."
The promulgation and implementation of the twelve professions is an important part of Zhou Li's enlightenment of the people. It enables the people of the country to do everything, live and work in peace and contentment, and becomes the taming tool of the rulers of the kingdom.
thought
ConfuciusAll his political ideas were based on the general goal of maintaining and restoring the "Zhou Rites".The difference between "Yi Di" and "Zhu Xia" in the Ming Dynasty is one of them.Although Confucius' comments on this aspect are few, they involve the major issue of "national consciousness" and have a profound impact on later generations.
After "Zhou Rites" became the organizational principle for the Zhou Dynasty to establish a feudal state political institution, its significance as the general name of the Zhou family's rules, systems, ceremonies and customs not only remained, but also was expanded and extended to the entire sphere of influence of the Huaxia nationality.At that time, the use of "Zhou Rites" had become the main symbol to distinguish "Yi Di" from "Zhu Xia".It can be said that it is the earliest consciousness of national consciousness that reflects a certain hazy state. The conscious inheritance and development of this national consciousness has become a kind of national centripetal force and cohesion.The cultural tradition of the Chinese nation has been continuous for thousands of years, which is a miracle in the history of world civilization development. Its emergence should be said to have a certain ideological origin relationship with the consciousness of national consciousness that Confucius began.After the Qin and Han Dynasties, Confucius' other political propositions of "Yi Di" and "Zhu Xia" gradually inherited and carried forward the proposition of "Ming Hua Yi".
Culture
Zhou Li isPre QinThe standard thought in the cultural field of the period.
Literary creation.This is reflected in the standardization of style and the summary of writing techniques.According to the Book of Rites of the Zhou Dynasty, "Six poems are taught: Feng, Fu, Bi, Xing, Ya and Song; based on six virtues, six laws are used as the sound." This includes three styles of Feng, Ya and Song, as well as three artistic expressions of Bi, Fu and Xing, and literary creation in later generations is deeply influenced by them.
Music art.There was a set of logical self consistent standards in the pre Qin period.According to the Book of Rites of the Zhou Dynasty, "all texts are composed of five tones: palace, commerce, horn, sign and feather. All texts are composed of eight tones: gold, stone, earth, leather, silk, wood, bamboo and bamboo." The former is the standard of scale, while the latter is the standard of timbre.It is precisely because of the determination of these basic standards that music can be developed scientifically and eventually become an art.
Cultural and sports education.The Book of Rites of the Zhou Dynasty mentioned that "raising the nation's son to follow the Tao is the six arts of education: one is five rites, two is six music, three is five shots, four is five controls, five is six books, and six is nine numbers." Later, it was interpreted by Confucianism as the "six arts" of etiquette, music, shooting, imperial, calligraphy, and numeracy, which became an important standard for Chinese talent training.[61]
taste
The bronze art and music and dance art in the ritual and music culture of the Zhou Dynasty are full of strong symbolic meanings. The artistic spirit embodied is a symbolic artistic spirit, and the bronze art and music and dance art are the most representative arts in the ritual and music culture of the Zhou Dynasty. Therefore, it can be said that the symbolic artistic spirit is the most typical artistic spirit reflected in the art of the ritual and music culture of the Zhou Dynasty,It is also one of the typical artistic spirits in early China.This symbolic artistic spirit has a profound impact on the Chinese artistic spirit and artistic development in later generations.[62]
Sociology
The ritual system of the Western Zhou Dynasty ensured the continuity of the dominant position of the families that had gained the dominant position in politics, so that "those who are noble will always be noble".The principle of kinship turns the political life of the country from top to bottom into the family life of a huge family with blood relationship.China's family state integration, which has lasted for thousands of years, has been shaped with the national force as the backing since the dynasty.
From the perspective of the influence of later generations, the thought of rites in the Western Zhou Dynasty, with the patriarchal hierarchy as the core, became the core of the orthodox ruling thought in ancient China.Of course, in the later era, the scope of application and function of ritual shifted from the principle of political power distribution in the Western Zhou Dynasty to the mechanism of shaping and maintaining social life order after the Han Dynasty. However, the basic principle of ritual, intimacy, respect, length and difference between men and women, did not change, but was consolidated and strengthened.At the same time, the ideology of the Western Zhou Dynasty laid the basic pattern of social ideology in ancient China.
urban construction
In the history of more than 2000 years in China, there were many famous metropolises that embodied the etiquette thought of Zhou Li in their urban layout.For example, in the heyday of China's feudal society, the most representative capital -——Chang'an City in Sui and Tang Dynasties。The layout of the whole city is strict and unified, which fully reflects the layout characteristics of the King City of Zhou Dynasty.[63]
Most of the capital cities of previous dynasties still use the former sites of the former dynasties, so it is difficult to refresh their pattern.Kublai Khan, the first ancestor of the Yuan Dynasty, was founded in BeijingYuan DaduWhen the goldgo to the nation's capitalThe re planning of the neighborhood was based on the "Rites of the Zhou Dynasty" as a model to establish a pattern of facing the future market, Zuozhu and Youshe. Later, the Ming and Qing dynasties not only continued to use them, but also copied the "Rites of the Zhou Dynasty" and builtTemple of Heaven、Ditan、Ritan、Moon Altar、Xiannong TempleTo form the current layout.KoreanSeoulThe pattern of facing the future market, Zuozhu and Youshe is the model of building a capital in accordance with Zhou Li overseas.[60]
Historical evaluation
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a pre-Qin philosopher"The life of man is in heaven, and the life of the state is in ceremony."[64]
Confucius"There is no standing without learning etiquette."[65]
"Zuo Zhuan, the 18th Year of Duke Wen": "The first monarch, the Duke of Zhou, made the rites of the Zhou Dynasty, and said," We should observe virtue, deal with affairs with virtue, deal with public affairs with virtue, and feed people with merit. ".[66]
"The Book of Han · Rites and Music Annals": "The king must be prepared for the former king's rites, and he will give timely measures to meet the needs of the people. That is to say, the hearts of the people will be slightly made, and the peace will be achieved. Zhou Jian was in the second generation, and the rites and texts were especially good, the things were made according to the rules, and the songs were used for defense, so it was called the Rites of Three Hundred, and the prestige of three thousand. So he taught a lot, and the people were harmonious, disasters did not occur, disasters did not act, and the prison was empty, more than 40 years."[67]
Song Dynasty·Chen LiangThe Six Classics Titles · Zhou Rites: "It is a collection of the great achievements of a hundred saints, and a dense investigation of literature and theory. It is as rich as a pearl, and the well is as rich as a picture of chess. It is curved and appropriate, without any pollution, and there is no more than a tenth of it. But it is humanitarian. Humanitarian preparedness is enough to understand the world, and change the world. The reason for flexibility lies in that the way of Duke Zhou is built here and flows with the world, and worries about its poverty"![68]
In the Qing Dynasty, Daoguang made the Imperial College Federation: "It is the duty of learning from Confucianism to master the martial arts, learn from the rites, music, poetry, and books, and make it as good as the pickaxe. It is the duty of observing the elegant style of literature and making good use of children, officials, brothers, and friends."[69]
