Author: Xie Nai and Li Shaohua (Professor and Lecturer, School of History and Culture, Northeast Normal University, respectively)
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Music was an important means for the state to achieve courtesy rule in the early Xia and Shang Zhou dynasties. Regarding the evolution of the origin and evolution of le li in the governance of the three generations of countries, there have always been two opposing academic views of "profit and loss theory" and "change theory", especially since Wang Guowei put forward the theory of cultural upheaval in Yin Zhou in the early 20th century, the theory of cultural change of Xia Shang Zhou Le represented by "Zhou Le Jie Shang" has become more and more popular. Judging from multiple data such as excavated materials and heirloom documents, the three generations of music ceremonies have shown the characteristics of both inheritance and development at the level of music system, music ceremony and music righteousness, and the Zhou Dynasty music ceremony that integrates the three generations is formed on the basis of abandoning the previous generation, especially the late Shang music ceremony. Therefore, examining the evolution of Xia Shang Zhou Le Li from the perspective of the Jinshi musical instrument that can most intuitively reflect the early Chinese liturgical music civilization can not only deeply understand the unique function of music in the governance of the country in the early three generations, but also use this to see the unique evolution path of the liturgical music culture at the time of the three generations.
With the hearts of the people, the fundamental function of the Xia Shang Zhou Le Li is to rule with pleasure
Governing the country with pleasure is the fundamental function of the three generations of music. "Lü's Spring and Autumn Ancient Music" Yun: "Shangye, the originator of the music, must not be abolished... The sages perish, and the unworthy perish. "Le's realization of its national governance function is mainly manifested in two aspects.
The first is to be happy to be polite and participate in the operation of three generations of national political codes in the form of music ceremonies. According to the records of the five emperors, as early as the Five Emperors period, music has become an important way of governance for sacrifice, secondary for governance, and for ruling the people. The Shang Shu Gao Tao Mo records that when Emperor Shun ascended the throne, he "cooperated with the time and the month, the right day, and the same law of weights and measures", and the fate of Yu taught the scribble with music virtue, and the fate of Yu used "six laws, five voices, eight tones, and seven first chants, and five words of cashier". In the early governance of public affairs, Le has played an important role in leveling weights and measures, educating the children of the nobility, and making sarcastic remarks. The "Left Biography" quotes the "Book of Xia": "The precepts are used for Hugh, Dong's use is used for prestige, and the persuasion is based on nine songs, so as not to make it bad." The so-called "Li le criminal government, its extreme one, so with the people's hearts out of the way of governance", the nine songs, like good virtue and wei punishment, are the necessary ways for the xia dynasty monarchs to practice good government. In the merchant political and religious system, leturgy also played an important role. "Li Ji • Suburban Special Animal" Yun: "Yin people still sound, the smell is not completed, purify its sound, music three times, and then out to meet the animal." The trumpet of sound, so the commandments between heaven and earth also. "In the Zhou Dynasty, the Zhou metric system of ritual music not only became an essential part of the ceremony, but also an important way for the Zhou people to preserve ancient history and culture. Archaeological data also show that le li li played an important role in the state religion in the early three generations. The combination of musical instruments such as stone chimes, earth drums, and shrew drums excavated from the tombs of high-ranking nobles at the site of The Tao Temple in Shanxi, which is closely related to Yaodu, indicates that musical instruments have been ritualized as early as before and after the birth of the country. The stone chimes of tomb No. 3 in the sixth district of the Yanshi Erlitou site are produced together with ceremonial instruments such as copper qi and jade qi, and most of the copper bells are from medium-sized tombs, although the golden stone instruments have not been combined at that time, but the nature of the ceremonial instruments that symbolize the status level is obvious. The variety of golden stone musical instruments from Yin Ruins and surrounding tombs shows that the Shang Dynasty musical instruments as ceremonial instruments are more and more closely related to social hierarchy. The highest aristocratic level of the Shang King used a multi-group woven chime, weaving and drumming ceremonial instrument configuration, the sub-level such as Xiaotun M5 women's good tomb with a combination of weaving and weaving, and the second level was a combination of special chimes and braiding, and the weaving was used alone. In addition, the dozens of musical instrument titles in the oracle bone and the use of musical instrument and dance names as sacrifice names also indicate that the Shangzheng "Shangsheng" contained in the literature is indeed not a false statement. The rich variety and combination of gold and stone musical instruments unearthed during the two-week period, as well as the common musical instrument inscriptions such as "Kanxi Shangxia", "Great Politics of Use", and "Honoring the Alliance", all indicate that le li has penetrated into the national governance system of the Zhou Dynasty. Therefore, Xia Shang Zhou inherited the political function of Le Zizhi.
Second, the political concept of music and politics is the common political concept of Xia Shang Zhou. "Li Ji Le Ji": "The musician, the sum of heaven and earth", and the harmony of all relations with the music association is the unanimous appeal of le in the three generations of politics and religion. "Shang Shu Yao Dian": "Eight tones are harmonious, there is no competition, the gods and men are harmonious", and the ultimate purpose of the poetry song and dance in the temple is to achieve the harmonious communion of people and gods and interpersonal relations. The word "龢" in the oracle bone inscription refers both to a wind instrument that can harmonize music and can be used as a sacrifice name, indicating that the merchants under theocracy theoretically associated the sum of music and the sum of man and god. After the Yin Zhou Ding Revolution, the Zhou people, while inheriting the relevant music concepts of merchants, paid more attention to the harmony of various social relations under the secular monarchical politics. The Chinese Zhou Yu records that the way of liturgy is "flattering to God and to the people." The Zhou people decorated the bronze bell with the words "he" and "xie" and attached inscriptions such as "Naihe and Ming" and "Hehui People", and their original intention was as stated in the Book of Rites and Music, hoping to achieve "music in the Temple, and the monarchs and subjects listen to it together, then they will not be harmonious and respectful." In the township of the patriarch, the elders and children listen to it together, and they are not at ease. Inside the boudoir, if father and son and brother listen to it together, they will not be at peace." Therefore, the political concept of Xia Shang Zhou's harmony with music and all social relations has always been the same.
The profit and loss can be known: the evolution of xia shang zhou le li is not in the instrument
The fundamental function of the Xia Shang Zhou Le Li lies in the rule of music, but the material carrier musical instruments of the Le Li show the evolution characteristics of advancing with the times due to the needs of national etiquette and governance in both aspects of "shape" and "sound".
The evolution of the "shape" of the three generations of musical instruments is mainly reflected in the continuous evolution of the types, playing methods and arrangements of the Golden Stone instruments due to the needs of the improvement of the three generations of feudal ritual systems and the optimization of musical performance. Taking the most representative bell music vessel as an example, since the excavation of copper bells from the Tao Temple site, Xia Shang metal instruments have been dominated by copper bells. At the latest, in the late Shang Dynasty, the copper bell began to diverge into ornaments and musical instruments, in which the function of the instrument was gradually replaced by the bronze bell transformed into a copper bell, after which the main position of the bronze bell continued to last until the beginning of the week, and the appearance of the Yong bell in the cemetery of Baoji Zhuyuangou [Figure 1] in Shaanxi Province announced that new metal instruments were produced before and after the death of Zhou Kangzhao. Immediately after the Yong Bell, the palladium and button clocks also joined the liturgical music system, further enriching the three generations of bell instruments. In terms of playing style, before the Shang Dynasty, copper bells were played with shaking, copper bells after the late Shang Dynasty were mainly planted, and Yong bells, cadmiums and button bells of the Zhou Dynasty were all suspended, but the former was side hanging, and the latter two were straight hanging. As far as the arrangement is concerned, there are few signs of the use of copper bells in the early Shang Dynasty, most of the copper bells excavated from the late Shang Dynasty to the early Western Zhou Dynasty are three pieces, and the Zhou Dynasty Yong Bells, Cadmiums, and Button Bells have undergone the continuous expansion of three to more pieces, or under the influence of the Zhou people's concept of "Lexing Eight Winds", the three bronze bells have maintained a regular system of eight pieces in a specific period. Therefore, although the names, playing methods and groups of the three generations of bronze instruments are different, as the embodiment of bronze civilization in the field of music, the main position of its ceremonial instruments has not been shaken for the last three generations, and in the Shang Dynasty, together with the Jue Yao wine vessel, in the Zhou Dynasty and the Ding Gui food vessel constitute an important material representation of the aristocratic hierarchical status, and its own basic characteristics of the tile shape run through the development of the Shang Zhou bell instruments, thus forming a unique cultural landscape of the pre-Qin music bell and a bell double tone. This is precisely the development characteristics of the material carrier instruments of the three generations of music in the Xia Shang Zhou period that both evolved and shared the characteristics of liturgical music.
The evolution of the "sound" of the three generations of musical instruments is mainly reflected in the continuous enrichment of the scale of the Jinshi instrument due to the improvement of the bell casting technology and the change of musical aesthetics. The Zhou Li Dasi Le records the tone of the Zhou people's sacrificial music, "Fan Le, the round bell is the palace, the yellow bell is the horn, the big cluster is the sign, and the gu wash is the feather... If the music changes six times, then all the gods will descend and will be blessed." The music of sacrifice is the most important auspicious music, but there is no "shang" of the five sounds. The Book of Rites and Music records that when Confucius and Binmu Jia discussed Dawu, they also mentioned that "sound and fornication and shang" were not the sounds of Dawu. Scribes thus proposed "Zhou Le Jie Shang", believing that the Zhou people deliberately avoided the use of "Shang" sounds in the imperial court music ceremony out of consideration of political opposition, and even some scholars proposed that there was no Shang tuning style in the various parts of Zhou poetry in the Book of Poetry. Judging from the physical objects of the musical instruments excavated by archaeology, the chimes of the Yong bells and the side drums of the middle and late Western Zhou Dynasty can indeed not play the Shang tone, but if the scale of the bell instruments is extended back to the long period from the late Shang Dynasty to the Spring and Autumn Warring States period, before the formation of the Zhou Dynasty Yong Bell, which can only play the four tones of the palace, horn, sign and feather, most of the woven bells excavated from the Second Phase of the Western Zhou Dynasty to the fourth phase of the Yin Ruins can also not play the Shang tones, and the Yong Bells and drums excavated in the early Western Zhou Dynasty such as the tomb of Bo Ge and the tomb of chang'an Pudu Village can only play the palace and the horn two sounds. After the button clock entered the music ceremony system, with the increasingly sophisticated technology of casting bells and adjusting bells, the scale of bell instruments from four to five, seven and even twelve semitones such as Zeng Houyi chimes were complete, and the Yong bell could not play the commercial tone has also become the past, so the Zhou Dynasty music ceremony heavy instrument Yong bell can not play the commercial sound is only a phased feature of the ancient music ceremony. It can be seen that the scale of bell instruments has gradually developed from the late Shang to the Warring States, and there is no faulty "regression" or "mutation", which is due to the development of bronze technology and music theory knowledge on the one hand, and on the other hand, it is also the result of the ancient people's demand for music performance. Therefore, the level of the "sound" of the Xia Shang Zhou music instrument also showed the characteristics of continuous evolution at the time of the Yi Dynasty.
Yu Yu Wen Zhao: The Zhou Dynasty is the culmination of three generations of music ceremonies
With the open attitude of "although the old state of Zhou, its life is renewed", the Zhou people have absorbed the ancient music ceremonies, especially the late Shang music ceremonies, and according to the needs of the etiquette, they have integrated and transformed the previous generation of music ceremonies, forming a zhou dynasty music ceremony with a grand view in the three aspects of music system, music ceremony and music righteousness.
First of all, the Zhou Dynasty music ceremony followed the tradition of distinguishing grades by bronze musical instruments before the Xia Shang in terms of music system, and formed a set of music suspension system with the hierarchy as the core on the basis of patriarchal feudalism. "Zhou Li Xiaoxu": "The seat of Le County, Wanggong County, Zhuzhuoxuan County, Qing Dafu Judgment County, County." "From the king to the princes, the doctors, and the scholars, each rank has a liturgical configuration corresponding to its social identity. Although the music suspension group excavated from the two-week tomb is different from the type, grouping, hanging method, and social rank matching recorded in the ritual book, for example, regarding the liturgical configuration of the scholar level, the Zhou Li believes that it has a special hanging system, while most of the tombs of the three or one dings of the taxi level unearthed do not have gold stone instruments to bury, indicating that the scholar rank does not have the right to use the music suspension, but the configuration of the music instruments in the tombs of different nobles still shows obvious hierarchical differences. Taking the Spring and Autumn Period as an example, the level of musical suspense between the princes, the secretaries of state, and the doctors was realized by the combination of different types of instruments. For example, the tombs of the monarchs of the State of Yishui ju in Shandong and the Xuling Cemetery in Yexian County, Henan, and other tombs of the Spring and Autumn princes are generally buried with a combination of four golden and stone musical instruments and are matched with drums. The types of ceremonial instruments in the tombs of Qing and Dafu were reduced accordingly. The so-called ceremonial ceremony is carried by the instrument, and the practice of the ceremony is mostly carried by the instrument, and the hierarchical arrangement of the ceremonial instrument highlights the hierarchical nature of the politics under the system of the Zhou Dynasty's ritual and government integration, and is also the inheritance and development of the Zhou people's hierarchical music ceremony in the previous generation.
Secondly, the Zhou Dynasty music ceremony inherited the previous generation in terms of music etiquette, and built a set of music ceremonies based on the five rites according to the needs of etiquette, which became an important form for the Zhou people to embody the concept of kinship and respect and maintain the patriarchal feudal hierarchy. As far as the content of music ceremony is concerned, the Zhou people incorporated the music of the past dynasties since the Yellow Emperor into the music ceremony system and reconstructed it. "Zhou Li Dasi Le": "Teach the guozi with music and dance, dance "Cloud Gate", "Big Scroll", "Da Xian", "Da [Figure 2]", "Da Xia", "Da Hao", "Dawu", all of the above dance music except for "Dawu" is original to the Zhou people, all of which are made by the previous generation, mainly showing the ancient sages' deeds, the Zhou people's dance of the previous generation "divides the music and order", according to the object of sacrifice, the different music and dance are adapted, the Venerable uses the music of the previous generation, and the inferior uses the music of the descendants, so that the dance music of the previous generation is integrated with the sacrifice system of the Zhou Dynasty, and the needs of the Zhou Dynasty's respect and orderly national governance are also realized. As far as the form of music ceremony is concerned, on the basis of the Shang Dynasty music ceremony, according to the needs of patriarchal feudal politics, relying on the five rites of Ji, Qi, Jun, Bin and Jia, through the participation or participation of le, a set of music ceremonies with different ranks from the princes of Tianzi to the scholars. Taking the drinking ceremony as an example, the instruments, poems, and music and dance used in the drinking ceremony of Tianzi and princes at the vertical level are different, such as Tianzi playing "Bactria" and "Dawu" with Gong Hanging and Bayou, while ordinary princes play "Spoon" and "Elephant" with XuanHang and Liuzhuo. In terms of horizontal content, the music and dance used in the same level of drinking ceremonies are also different in different ceremonies, such as the yan ceremony at the princely level due to the difference between Chang Yan and Yan, and the music ceremony is different. At the same time, in this vertical and horizontal difference, the six specific rituals of golden music, ascension song, inter-song, down pipe, hele and xing dance are used to unify all the rituals and rituals of the ritual and the music, and finally form a unique ritual ceremony in which the ritual music depends.
Finally, in terms of music, Zhou Dynasty Music Ceremony continued to adhere to the musical political concept of music and harmony pursued by successive generations, not only adding the attribute of "virtue" to music, but also refining music meaning into music theory with original value. Among them, Zhou Ren put forward the theory of "Deyin" as a major innovation that is different from the Shang Dynasty Leyi. In the Zhou people's understanding of liturgical music, the harmony of music itself is its proper meaning, but the music based on music should also have the function of enlightenment, the so-called "music with Yaode", "Virtue is not ashamed, to meet the gods", "since the distant people", most of the poems and hymns performed with the Jinshi instrument are also produced under the political need of Songde. On the other hand, the Zhou people constantly enriched and enriched the theoretical connotation of the general meaning of deyin, a musical ceremony. Since the "Distinction between Harmony and The sameness" in the late Western Zhou Dynasty, the Zhou people, especially the Eastern Zhou Zhuzi, have systematically thought about the sources, characteristics, and functions of music ceremonies, and finally formed original music theory achievements such as "Xunzi Music Theory" and "Li Ji Music Record". Therefore, since the righteousness of self-music, the Zhou Dynasty Music Ceremony can be described as the culmination of three generations.
In short, from the perspective of multiple data on music archaeology, the evolution of xia shang zhou le li is not a "drastic change", and the inheritance and development of the three generations of music culture are both in the same line and keep pace with the times, especially the zhou dynasty le li is based on the patriarchal feudal system of state governance that needs to inherit and develop the previous generation of music ceremony. Confucius said that "Yin is due to Xia Li, the profit and loss can be known, and the Profit and Loss of Zhou is also known because of Yin Li", Confucius summed up the political and cultural relations of the early Xia And Shang Zhou from the perspective of "profit and loss" of The Ritual, which is also in line with the historical reality of the evolution of the three generations of music and the mutual learning of ancient civilizations.
(This paper is a phased result of the general project of the National Social Science Foundation "Research on Feudal System and the Early State Governance System of the Shang Zhou Dynasty")
Guangming Daily (2022-08-15, 14th edition)
Source: Guangming Network - Guangming Daily