建立于西汉景帝末年的成都文翁石室,是当时最早由地方政府建立的以传播儒学为主要内容的学校,同时又是祭祀孔子等儒家代表人物的场所。东汉后期,高又在石室旁重建周公礼殿,用来祭祀孔子、孔门弟子、历代名儒,以及自盘古、伏羲、神农以下的历代圣君贤臣和治蜀有功的历代先贤,正式形成"庙学合一"体制,是当时全国第一所由政府建立的祭祀先圣、先师、先贤的专门建筑。这一体制在成都一直保持着,中间虽然在宋末元初、明末清初遭到破坏,但不久又得以恢复。文翁石室以及周公礼殿,是成都地区传授知识的最高学府,也是当地最权威的寄托精神信仰的神圣家园。"庙学合一"的格局对后世中国从中央到地方的学校建制影响甚大,对历史上的教育制度、礼乐制度以及地方文化建设,曾起到过重要推动作用。

Wenweng shishi of Chengdu was established in the reign of Emperor Jing of Western Han dynasty.It was the first school built by the local government to teach the Confucian classics.Besides it was the special building to sacrifice to Confucius and his famous disciples.In the late Eastern Han dynasty Gao Shun rebuilt the Zhougong lidian to sacrifice to Confucius his students other Confucians and ancient sage kings such as Pangu Fuxi and Shennong.It marked the formation of the Temple-and-School-in-One system. This System has always been kept except for the damage to Wenweng shishi and Zhougong lidian in the late Song and Early Yuan dynasties and again in the late Ming and early Qing Dynasties.On the two occasions it was rebuilt in time.For a long time Wenweng shishi and Zhougong lidian remained the highest educational institution of Chengdu and the spiritual home for people in Sichuan.This system has a great influence on the school system of later time and has also played a major

《孟子》"《诗》亡然后《春秋》作",可以从三个方面去理解:一是《诗》《春秋》皆记史,《诗》以韵文记事,是史诗时代的传统,《春秋》以散文记事,标志着史书编年记事体的成熟;二是周公制作《诗经》是作为政教之本,以开升平之世,孔子作《春秋》则是昌盛周道,拨乱反正,其义相承;三是孔子以周公为尊,以继承周公之志为平生之愿。

We can understand The Spring and Autumn Annals Following The Book of Songs from three aspects.Firstly, The Book of Songs and the Chun Qiu are all copying down the history events. The Book of Songs in verse;the Chun Qiu in prose. Secondly, Zhougong making The Book of Songs to publicize politics and religion.Kongzi making the Chun Qiu set things right. Thirdly, Kongzi inherits Zhougong’s spirit.

学术界充分肯定了周公在我国思想史上的地位，而召公则被忽视。其实，召公对我国思想史发展的深远影响，是可与周公媲美的。这表现在召公：就如何对待“天”及发展西周王朝，提出了“天不可信”，振兴西周王朝这决定于我———“时我”，推进了从神本走向人本的历史进程；提出了处在共同体中的“休（美好）”、“恤（忧患）”矛盾的对立统一，强调防止“休”向“恤”转化，此实为和谐哲学的雏形；提出了“弥性”的性善说和“节性”的性恶说，开启了我国人性论的先导；提出了“敬德保民”，以德治国的新思想；提出了要以夏、殷“不敬德”而亡国为鉴。其“不敬德”的内涵集中到一点就是“贪婪腐败”。故以夏、殷为鉴，就是要以其“贪婪腐败”而亡国的教训为鉴，从而揭示了一个国家政治清廉则兴，贪婪腐败则亡的历史规律；召公为政清廉，为民不扰民，以利民便民为务，这既是“敬德保民”思想的身体力行，又是其平民化思想的标志。总之，召公对上述六个方面的论述的深刻性超越了周公，对思想史的发展做出了独特的杰出贡献，应充分肯定其在我国思想史上的崇高地位。

The contribution of the Duke of Zhou has been fully recognized in Chinese history of thoughts while the achievement of the Duke of Shao has been ignored. In fact, the Duke of Shao has exerted a great influence on the development of Chinese history of thoughts and his attainment can rival that of the Duke of Zhou. His talents and achievement can be convincingly proved by the following ideas. To the attitude towards the “heaven”, he put forward the view that the “heaven”couldn’t be trusted and depended. To the development of Western Zhou Dynasty, he came up with the point that it was determined by“I”, that is, the“present self”. His thoughts contributed to the historical change from being God-oriented to being people-oriented. What’s more, he raised the viewpoint that welfare and adversity existed in a unity with opposites contradicting with each other. He emphasized the necessity to prevent the welfare from being changed into adversity, which in fact paves the way of

清华简《周公之琴舞》的文本结构较为简单，既是一种常见的“启＋乱”式的循环结构，而且能够反映出西周初期的诗乐面貌。其乐章结构较为特殊，但从简的形制及背题简号、篇题、第二遂的“通启”记载以及“序”与“用乐”角度分析，可知该颂通体是一篇完整的乐章，而非两篇之拼凑。再由该颂产生之背景与使用的场合、《敬之》毛诗“序”、与《大武》比较以及该颂的内容解读等“外证”与“内证”考证，可知该颂之作者为周公与成王。《周公之琴舞》的出土，同时验明了西周乐制中的一些问题，如“九遂”制始于周公制礼作乐，而且“九遂”用乐既有其乐制的意义，还对于后世文学创作等产生了很大的影响。

The text structure of “dance with musical instruments written by Zhou Gong ” is simple , which is a common loop type of “Qi + Luan” and has the early Western Zhou Dynasty''s poetry and music features . The movement structure is special , which is testified by Bamboo System , Marks , Title , Preface , and Play . They were written by Zhou Gong and the King of Cheng which is testified by the background and occasions of playing and the preface of Mao Poetry and Dawu song and the content . The unearthed literature identifies some problems of the Western Zhou Dynasty''s Li Yue System , such as“Nine Sui” system started from the Zhou Gong and had a great effects on the later literary creation .

《耆夜》非史家实录而源于后代追述,仪式传承。《耆夜》＂夜爵＂读作＂夜爵譸（詶）＂,譸（詶）,不同于后世献礼之＂酬＂,＂夜爵譸（詶）＂节序为：斟满酒杯置于客人之前,遂祝颂咏歌以劝酒助兴。＂监饮酒＂之本义非以礼防饮酒过度,而是罚酒劝饮,礼书＂司正＂职能乃由早期＂监饮酒＂职能反向超越转化而来。其所记＂饮至礼＂间接曲折地反映了周初因袭殷商饮酒礼（言礼或燕礼）的实况;其叙事出于毕公高后裔楷氏一族,始出时间以昭、穆时期可能性最大,是新礼乐文化勃兴之产物。《耆夜》所载周公歌诗皆具有道德训诫意味,正体现了《周礼》大司乐＂中＂、＂和＂、＂祗＂、＂庸＂乐德四教的内容;武王诗＂恁仁兄弟,庶民和同＂一句可与乐德＂友＂德相应;其叙述形式则蕴涵了乐德＂孝＂德之义。《耆夜》始出便以乐政、乐教之乐语形态存在并传播,直至春秋战国之际在晋楚演为书篇。《耆夜》述作之义在于：突出周公、毕公在早期饮至礼上的形象,以阐扬周公当初制礼作乐之精神,强化乐政德教。

"Qi Ye"is not written by historians but told by the descendants and passed through rituals.It indirectly reflects the fact of the following the ritual of drink of the Yin and Shang Dynasties in the early Zhou Dynasty.It is most likely that the narration comes from the family of Bi Gong''s descendants during the Zhao and Mu periods.It is the product of the ris-ing of the new ritual culture."Qi Ye"at first exists and is spread in the form of music language of Yuezheng and Yuejiao, and then is developed into the bamboo slips during the period of Chunqiu and Zhanguo.The meaning of the narration of"Qi Ye" lies in the protruding of images of Zhou Gong and Bi Gong and praising their spirit of obeying rituals and stressing education.