中華文化術(shù)語選篇

六經(jīng)皆史

The Six Confucian Classics Are All About History.

這是古代學(xué)者提出的一個(gè)重要的學(xué)術(shù)思想命題，認(rèn)為“六經(jīng)”（《易》、《書》、《詩》、《禮》、《樂》、《春秋》）反映的是夏、商、周三代社會(huì)、政治等現(xiàn)實(shí)情況的歷史文本，而不是圣人刻意留下的義理說教。系統(tǒng)闡發(fā)這一命題的代表人物是清代學(xué)者章學(xué)誠。這一命題動(dòng)搖了儒家經(jīng)典的神圣地位，標(biāo)志著中國史學(xué)趨向自覺與獨(dú)立。

The Six Confucian Classics are The Book of Changes， The Book of History， The Book of Songs， The Book of Rites， The Book of Music， and The Spring and Autumn Annals. An important proposition put forward by scholars of late imperial China was that those are all historical

texts. According to these scholars， the Six Classics are all concerned with the social and political realities of the Xia， Shang， and Zhou dynasties rather than the teachings left

by ancient sages. Zhang Xuecheng of the Qing Dynasty was the representative scholar to systematically

expound（闡述）this proposition. This view challenged the sacred status of the classics of Confucianism and marked a self-conscious and independent trend in Chinese historiography.

引例 Citation：

◎?qū)W者崇奉六經(jīng)，以謂圣人立言以垂教，不知三代盛時(shí)，各守專官之掌故，而非圣人有意作為文章也。（章學(xué)誠《文史通義·史釋》）

（學(xué)者推崇六經(jīng)，認(rèn)為圣人著書立說，是為了給后人留下垂示教訓(xùn)，卻不知道那實(shí)際上是夏、商、周三代興盛之時(shí)，各司其職的官員寫下的制度和史實(shí)，而不是圣人有意撰寫的典籍。）

Scholars worship the Six Classics and say that they are the words of sages set down to teach later generations. They do not realize that the classics are the regulations and historical facts recorded by officials in the flourishing days of the three dynasties of Xia， Shang， and Zhou. They are not the writings of ancient sages. （Zhang Xuecheng： General Principles of Literature and History）

聲一無聽，物一無文

A Single Note Does Not Compose a Melodious Tune， Nor Does a Single Color Make a Beautiful Pattern.

單一聲響不構(gòu)成動(dòng)聽的旋律，單一顏色不構(gòu)成美麗的花紋。其本質(zhì)強(qiáng)調(diào)文學(xué)藝術(shù)的美在于多樣性的統(tǒng)一與和諧，只有在多樣性的統(tǒng)一與和諧中才能創(chuàng)造美。這一命題后來構(gòu)成中國古代文藝?yán)碚摰闹匾瓌t，推動(dòng)文藝的繁榮與發(fā)展。

This statement suggests that the beauty of literature and art lies in the unity and harmony of diverse elements. It became an important principle in ancient Chinese theories on literature and art， and facilitated the development of literature and art.

引例 Citations：

◎聲一無聽，物一無文，味一無果，物一無講。（《國語·鄭語》）

（單一聲響不能構(gòu)成動(dòng)聽的旋律，單一顏色不能構(gòu)成美麗的花紋，單一味道不能成為美食，單一事物無法進(jìn)行比較。）

A single note does not compose a melodious tune； a single color does not form a beautiful pattern； a single flavor does not make a delicious meal； and a single thing has nothing to compare with. （Discourses on Governance of the States）

◎五色雜而成黼黻，五音比而成韶夏，五性發(fā)而為辭章，神理之?dāng)?shù)也。（劉勰《文心雕龍·情采》）

（多種顏色的絲才能繡成美麗的花紋，多種聲音配合成動(dòng)聽的音樂，多種情感抒寫成美妙的辭章，這是自然之理呀?。?/p>

It is natural that silk of different colors can be used to embroider（刺繡）a beautiful pattern， different notes to produce melodious music， and expressions of different feelings to present a fine work of literary art. （Liu Xie： The Literary Mind and the Carving of Dragons ）