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| Condition 1: References "升歌清庙，下管象" Matched:5. |
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《先秦两汉 - Pre-Qin and Han》 | Related resources |
《儒家 - Confucianism》 | Related resources |
《礼记 - Liji》 | [Warring States (475 BC - 221 BC)] English translation: James Legge [?] | Books referencing 《礼记》 Library Resources Source Related resources |
《明堂位 - Ming Tang Wei》 | English translation: James Legge [?] | Books referencing 《明堂位》 Library Resources |
| 4 | 明堂位: | 季夏六月，以禘礼祀周公于大庙，牲用白牡；尊用牺象山罍；郁尊用黄目；灌用玉瓒大圭；荐用玉豆雕篹；爵用玉盏，仍雕，加以璧散璧角；俎用梡嶡；升歌《清庙》，下管《象》；朱干玉戚，冕而舞《大武》；皮弁素积，裼而舞《大夏》。昧，东夷之乐也；《任》，南蛮之乐也。纳夷蛮之乐于大庙，言广鲁于天下也。 |
| Ming Tang Wei: | In the last month of summer, the sixth month, they used the ceremonies of the great sacrifice in sacrificing to the duke of Zhou in the great ancestral temple, employing for the victim to him a white bull. The cups were those with the figure of a victim bull, of an elephant, and of hills and clouds; that for the fragrant spirits was the one with gilt eyes on it. For libations they used the cup of jade with the handle made of a long rank-symbol. The dishes with the offerings were on stands of wood, adorned with jade and carved. The cups for the personator were of jade carved in the same way. There were also the plain cups and those of horn, adorned with round pieces of jade; and for the meat-stands, they used those with four feet and the cross-binders. (The singers) went up to the hall (or stage), and sang the Qing Miao; (in the court) below, (the pantomimes) performed the Xiang dance, to the accompaniment of the wind instruments. With their red shields and jade-adorned axes, and in their caps with pendants, they danced to the music of the Da Wu; in their skin caps, and large white skirts gathered at the waist, and jacket of silk, they danced the Da Xia. There (were also) the Mei, or music of the wild tribes of the East; and the Ren, or music of those of the South. The introduction of these two in the grand temple was to signalise the distinction of Lu all over the kingdom. |
《祭统 - Ji Tong》 | English translation: James Legge [?] | Books referencing 《祭统》 Library Resources |
| 33 | 祭统: | 昔者，周公旦有勋劳于天下。周公既没，成王、康王追念周公之所以勋劳者，而欲尊鲁；故赐之以重祭。外祭，则郊社是也；内祭，则大尝禘是也。夫大尝禘，升歌《清庙》，下而管《象》；朱干玉戚，以舞《大武》；八佾，以舞《大夏》；此天子之乐也。康周公，故以赐鲁也。子孙纂之，至于今不废，所以明周公之德而又以重其国也。 |
| Ji Tong: | Anciently, Dan, duke of Zhou, did most meritorious service for the kingdom. After his death the kings Cheng and Kang, bearing in mind all his admirable work, and wishing to honour Lu, granted to its lords the right of offering the greatest sacrifices - those in the borders of their capital to Heaven and Earth, in the wider sphere of sacrifice; and the great summer and autumnal sacrifices in the ancestral temple of the state. At those great summer and autumnal sacrifices, on the hall above, they sang the Qing Miao, and in the courtyard below it they danced the Xiang to the flute; they carried red shields and axes adorned with jade in performing the Da Wu dance; and this was the music employed by the son of Heaven. (Those kings) in acknowledgment of the great merit of the duke of Zhou, allowed (the use of those sacrifices and this music) to the (marquis of) Lu. His descendants have continued it, and down to the present day it is not abolished, thereby showing clearly the virtue of the lords of Zhou and magnifying their state. |
《仲尼燕居 - Zhongni Yan Ju》 | English translation: James Legge [?] | Books referencing 《仲尼燕居》 Library Resources |
| 5 | 仲尼燕居: | 子曰：“慎听之！女三人者，吾语女：礼犹有九焉，大飨有四焉。茍知此矣，虽在畎亩之中事之，圣人已。两君相见，揖让而入门，入门而县兴；揖让而升堂，升堂而乐阕。下管《象》、《武》，《夏》、《龠》序兴。陈其荐俎，序其礼乐，备其百官。如此，而后君子知仁焉。行中规，还中矩，和鸾中采齐，客出以雍，彻以振羽。是故，君子无物而不在礼矣。入门而金作，示情也。升歌《清庙》，示德也。下而管《象》，示事也。是故古之君子，不必亲相与言也，以礼乐相示而已。” |
| Zhongni Yan Ju: | The Master said, 'Listen attentively, you three, while I discourse to you. Regarding the ceremonial rules, there are still nine things (to be described), and four of them belong to the Grand festive entertainments. When you know these, though your lot may lie among the channeled fields, if you carry them into practice, you will become wise as sages. When one ruler is visiting another, they bow to each other, each courteously declining to take the precedence, and then enter the gate. As soon as they have done so, the instruments of music, suspended from their frames, strike up. They then bow and give place to each other again, and ascend to the hall; and when they have gone up, the music stops. In the court below, the dances Xiang and Wu are performed to the music of the flute, and that of Xia proceeds in due order with (the brandishing of feathers and) fifes. (After this), the stands with their offerings are set out, the various ceremonies and musical performances go on in regular order, and the array of officers provided discharge their functions. In this way the superior man perceives the loving regard (which directs the entertainment). They move forward in perfect circles; they return and form again the squares. The bells of the equipages are tuned to the Cai-qi; when the guest goes out they sing the Yong; when the things are being taken away, they sing the Zhen-yu; and thus the superior man (sees that) there is not a single thing for which there is not its proper ceremonial usage. The striking up of the instruments of metal, when they enter the gate, serves to indicate their good feeling; the singing of the Qing Miao, when they have gone up to the hall, shows the virtue (they should cultivate); the performance of the Xiang to the flute in the court below, reminds them of the events (of history). Thus the superior men of antiquity did not need to set forth their views to one another in words; it was enough for them to show them in their music and ceremonies. |
《孔子家语 - Kongzi Jiayu》 | [Han (206 BC - 220)] | Books referencing 《孔子家语》 Library Resources |
《论礼》 | Library Resources |
| 1 | 论礼: | 孔子闲居，子张、子贡、言游侍。论及于礼，孔子曰：“居！汝三人者。吾语汝以礼周流无不遍也。”子贡越席而对曰：“敢问如何？”子曰：“敬而不中礼，谓之野；恭而不中礼，谓之给；勇而不中礼，谓之逆。”子曰：“给夺慈仁。”子贡曰：“敢问何以为中礼者？”子曰：“礼乎！夫礼所以制中也。”子贡退。言游进曰：“敢问礼也，领恶而全好者与？”子曰：“然。”子贡问：“何也？”子曰：“郊社之礼，所以仁鬼神也；禘尝之礼，所以仁昭穆也；馈奠之礼，所以仁死丧也；射飨之礼，所以仁乡党也；食飨之礼，所以仁宾客也。明乎郊社之义、禘尝之礼，治国其如指诸掌而已。是故居家有礼，故长幼辩；以之闺门有礼，故三族和；以之朝廷有礼，故官爵叙；以之田猎有礼，故戎事闲；以之军旅有礼，故武功成。是以宫室得其度，鼎俎得其象，物得其时，乐得其节，车得其轼，鬼神得其享，丧纪得其哀，辩说得其党，百官得其体，政事得其施。加于身而措于前，凡众之动，得其宜也。”言游退。子张进曰：“敢问礼何谓也？”子曰：“礼者，即事之治也。君子有其事，必有其治。治国而无礼，譬犹瞽之无相，伥伥乎何所之？譬终夜有求于幽室之中，非烛何以见？故无礼则手足无所措，耳目无所加，进退揖让无所制。是以其居处，长幼失其别，闺门三族失其和，朝廷官爵失其序，田猎戎事失其策，军旅失其势，宫室失其度，鼎俎失其象，物失其时，乐失其节，车失其轼，鬼神失其飨，丧纪失其哀，辩说失其党，百官失其体，政事失其施。加于身而措于前，凡众之动失其宜。如此则无以祖祫四海。”子曰：“慎听之！汝三人者。吾语汝。犹有九焉，大飨有四焉。苟知此矣，虽在畎亩之中，事之，圣人矣。两军相见，揖让而入，入门悬兴；揖让而升堂，升堂而乐阕；下管象舞，夏龠序兴，陈其荐俎，序其礼乐，备其百官，如此而后君子知仁焉。行中规，旋中矩，銮和中采齐，客出于雍，彻以振羽。是故君子无物而不在于礼焉。入门而金作，示情也；升歌《清庙》，示德也；下管象舞，示事也。古之君子，不必亲相与言也，以礼乐相示而已。夫礼者、理也；乐者、节也。无理不动，无节不作。不能诗，于礼谬；不能乐，于礼素；薄于德，于礼虚。”子贡作而问曰：“然则夔其穷与？”子曰：“古之人与？上古之人也。达于礼而不达于乐，谓之素；达于乐而不达于礼，谓之偏。夫夔达于乐不达于礼，是以传于此名也。古之人也。凡制度在礼，文为在礼，行之其在人也！”三子者、既得闻此论于夫子也，焕若发蒙焉。 |
《汉代之后 - Post-Han》 |
《宋明 - Song-Ming》 |
《太平御览》 | [Northern Song] 977-984 | Library Resources |
《乐部一》 | Library Resources |
《雅乐上》 | Library Resources |
| 4 | 雅乐上: |
《礼》曰：凡音之起，由人心生也。人心之动，物使之然也。感于物而动，故形于声。声成方，谓之音；方犹文章。比音而乐之，及干戚羽毛，谓之乐。干，楯也；戚，斧也；武舞所执也。羽，翟也，旄牛尾也。文舞所执也。乐者，音之所由生也。其本在人心之感于物也。是故其哀心感者，其声噍以杀；其乐心感者，其声啴以缓；其喜心感者，其声发以散；其怒心感者，其声粗以厉；其敬心感者，其声直以廉；其爱心感者，其声和以柔。是故先王慎所以感之者。宫为君，商为臣，角为民，徵为事，羽为物，五者不乱则无怗懘之音矣。凡音浊者尊，清者卑。怗懘，弊败不和貌也。宫乱则荒，其君骄；商乱则卑，其君坏；角乱则忧，其民怨；徵乱则衰，其事勤；羽乱则危，其财匮。五者皆乱，迭相陵，谓之慢。郑、卫之音，乱世之音也，比于慢矣。桑间、濮上之音，亡国之音也，其政散，其民流，诬上行私而不可正也。是故知声而不知音者，禽兽是也；知音而不知乐者，众庶是也。惟君子为能知乐。是故不知声者，不可与言音；不知音者，不可与言乐。知乐，则几于礼矣。礼乐皆得，谓之有德。德者，得也。乐者为同，礼者为异。同则相亲，异则相敬。同谓齐好恶，异谓别贵贱。乐胜则流，礼胜则离，流谓合行不敬也。离谓析居不和也。里裆中出，和在心也。礼自外作。敬在貌也。里裆中出，故静；礼自外作，故文。大乐必易，大礼必简。乐至则无怨，礼至则不争。揖让而天下治者，礼乐之谓也。大乐与天地同和，大礼与天地同节。和，故百物不失；节，故祀天祭地。明则有礼乐，幽则有鬼神，如此则四海之内合敬同爱矣。故知礼乐之情者能作，识礼乐之文者能述。述谓训其义也。作者谓之圣，述者谓之明。乐者，天地之和也；礼者，天地之序也。和，故百物皆化，序，故群物皆别。化犹生也。谓犹形体异也。王者功成作乐，治定制礼。其功大者其乐备，其治辩者其礼具。五帝殊时，不相沿乐；三王异世，不相袭礼。乐极则忧，礼粗则偏矣。及夫敦乐而无忧、礼备而不偏者，其惟大圣乎？春作夏长，仁也；秋敛冬藏，义也。仁近于乐，义近于礼，故圣人作乐以应天，制礼以配地，礼乐明备，天地官矣。夫礼乐之极乎天而蟠乎地，行乎阴阳而通乎鬼神，穷高极远而测深厚。是故志微、噍杀之音作，而民居思忧；啴谐、慢易、繁文、简节之音作，而民康乐；粗厉、猛起、奋末、广偾之音作，而民刚毅；廉直、劲正、庄诚之音作，而民肃敬；宽裕、内好、顺成、和动之音作，而民慈爱；流僻、邪散、简成、涤滥之音作，而民淫乱。故乐行而伦清，耳目聪明，血气和平，移风易俗，天下皆宁。故曰：乐者，乐也。君子乐得其道，小人乐得其欲。以道制欲，则乐而不乱；以欲忘道，则惑而不乐。道谓仁义也。欲谓邪淫也。是故君子反情以和其志，广乐以成其教，乐行而民向方，可以观德矣。方犹道也。德者，性之端也；乐者，德之华也。金、石、丝、竹，乐之器也。诗，言其志也；歌咏其声也；舞，动其容也。三者本于心，然后乐气从之。 又曰：魏文侯问子夏曰：“吾端冕而听古乐，惟恐卧，听郑、卫之音，则不知倦。敢问古乐之如彼，何也？新乐之如此，何也？”子夏对曰：“今夫古乐，进旅退旅，和正以广。弦匏笙簧，会守拊鼓。始奏以文，复乱以武。治乱以相，讯疾以雅。君子于是语，于是道古。修身及家，平均天下，此古乐之发也。今夫新乐，进俯退俯，奸声以滥，溺而不止。及犹侏儒，犹杂子女，不知父子，乐终不可以语，不可以道古。此新乐之发也。”文侯曰：“敢问溺音，何从而出也？”子夏对曰：“郑音好滥淫志，宋音燕女溺志，卫音趋数烦志，齐音傲僻骄志。此四者，淫于色而害于德，是以祭祀弗用也。《诗云》：‘肃雍和鸣，先祖是听。’夫肃肃，敬也。雍雍，和也。夫敬以和，何事不行。为人君者，谨其所好恶而已矣。君好之，则臣为之；上行之，则民从之。《诗云》：‘诱民孔易’，此之谓也。然后圣人作为鞉、鼓、椌、楬、埙、篪。此六者，德音之音也。然后锺、磬、竽、瑟以和之，干、戚、旄、狄以舞之，此所以祭先王之庙也，所以献酬酳酢也，所以官序贵贱、各得其宜也，所以示后世有尊卑长幼之序也。锺声鉴，鉴以立号，号以立横，横以立武，君子听锺声，则思武臣。石声磬，磬以立辨、辨以致死，君子听磬声，则思死封疆之臣。丝声哀，哀以立廉，廉以立志，君子听琴瑟之声，则思志义之臣。竹声滥，滥以立会，会以聚众，君子听竽、笙、箫、管之声，则思畜聚之臣。鼓鼙之声，欢，欢以立动，动以进众，君子听鼓鼙之声，则思将帅之臣。君子之听音，非听其铿锵而已也，彼亦有所合之也。君子曰：礼乐不可斯须去身，致乐以治心，则易直子谅之心，油然生矣。易直子谅之心生则乐，乐则安，安则久，久则天，天则神。天则不言而信，神则不怒而威。致乐所以治心者也。致犹深审也。子读如不子之子。油然，新生好貌也。善心生则寡于利欲，寡于利欲则乐矣。志明行成，不言而见信如天也，不怒而见畏如神。致礼以治躬则庄敬，庄敬则严。心中斯须不和不乐，而鄙诈之心入之矣；鄙诈入之谓利欲生。外貌斯须不庄不敬，而易慢之心入之矣。故乐也者，动于内者也；礼也者，动于外者也。乐极和，礼极顺。内和而外顺，则民瞻其颜色而弗与争也，望其容貌而不生易慢焉。极，至也。故德辉动于内，而民莫不承听；理发诸外，而民莫不承顺。故曰：致礼乐之道，举而措之天下无难矣。乐也者，动于内者也；礼也者，动于外者也。故礼主其减，乐主其盈。减犹倦也。盈犹冫益也。礼减而进，以进为文；里癔而反，以反为文。乐以统情，礼以理行，情溢而行倦，则进之，隘之则使反。进谓自负强，反谓自损神也。文犹美也。礼减而不进则销，里癔而不反则放。故礼有报，而里裥反，放，淫于声乐不能止也。报读曰褒，犹进也。礼得其报则乐，乐得其反则安。得谓晓其义，知其归。礼之报，乐之反，其义一也。夫乐者，先王之所以饰喜也；军旅鈇钺者，先王之所以饰怒也。故先王之喜怒，皆得其侪焉。” 又曰：孔子闲居，子夏曰：“敢问何谓三无？”孔子曰：“无声之乐，无体之礼，无服之丧。”子夏曰：“三无既得而闻之矣，敢问何诗近之？”孔子曰：“‘夙夜基命宥密’，无声之乐也；‘威仪棣棣，不可选也’，无体之礼也；‘凡民有丧，匍匐救之’，无服之丧也。”子夏曰：“言尽于此而已乎？”孔子曰：“何为其然也？君子之服，犹有五起焉。无声之乐，气志不违；无体之礼，威仪迟迟；无服之丧，内恕孔悲。无声之乐，气志既得；无体之礼，威仪翼翼；无服之丧，施于四国。无声之乐，气志既从；无体之礼，上下和同；无服之丧，以畜万邦。无声之乐，日闻四方；无体之礼，日就月将；无服之丧，纯德孔明。无声之乐，气志既定；无体之礼，施及四海；无服之丧，施于孙子。” 又曰：入门而金作，示情也。升歌《清庙》，示德也。下管象武，示事也。是故古之君子，不必亲相与言也，以礼乐相示而已。 又曰：故天子之为乐也，以赏诸侯之有德者也。德威而教尊，五谷时熟，然后赏之以乐也。 又曰：《郊特牲》曰：宾入大门而作《肆夏》，示易以敬。宾，朝聘者。易，和悦也。卒爵而乐阕，孔子屡叹之。美此礼也。里裆阳来者，礼由阴作者，阴阳和而万物得也。 |
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