“诸于绣骗”试探（下）

先秦时，男女皆上衣下裳。後来衣裳连成一体，称为“深衣”。这是诸侯、大夫以及士人家居常穿的衣服，也是平民百姓的常用礼服。《礼记·深衣》郑玄注：“名曰深衣者，谓连衣裳而纯之以采也。”长沙马王堆汉墓出土的男性木俑穿上下连体的有花纹的深衣就是佐证．     

《礼记·少仪》“祭左右轨、范”校析

《十三经注疏》中"轨"字,因涉及《诗经》、《周礼》、《礼记》经文和郑玄笺注多处,故其最初形体和字义,历来聚讼颇多。戴震认为"轨"只有"车辙"义,而"祭左右轨、范"中"轨"字最初当是"(車开)"字,从而较好地解决了各经中的相关问题。在此基础之上,以孔颖达的观点为基石,考察了《礼记·少仪》的经、注、疏,同时兼述今《礼记正义》各整理本的相关之情况,管窥其优劣。     

《礼记正义》二次征引《礼记》旧疏探析

皇侃《礼记义疏》征引了大量的《礼记》旧疏,孔颖达《礼记正义》在编纂成书时,也对这些旧疏进行了征引.本文通过比较孔氏《礼记正义》与皇氏《礼记义疏》,探析、总结了《礼记正义》征引《礼记义疏》所引《礼记》旧疏的方法与原则.并在探析孔氏《礼记正义》二次征引皇氏《礼记义疏》所引旧疏的过程中,对马国翰所辑《礼记》旧疏的疏误进行了匡补.     

清和珅刻本《礼记注疏》浅探

宋刻十行本《礼记注疏》是后世十行本《礼记注疏》的祖本,早已失传。和珅刻本《礼记注疏》以宋刻十行本《礼记注疏》为底本直接翻刻而成,仅做了一些修补,其版式、体例、内容很大程度上保留了宋刻十行本的原貌。和珅刻本《礼记注疏》流传较少,其版本价值和学术价值亟需学界关注。     

论《礼记》与《孔子家语》的关系

《孔子家语》长期以来一直被认为是伪书。1973年河北定县西汉中山王墓出土了《儒家者言》一篇,内容与《家语》相关,1977年安徽阜阳双古堆汉墓也出土了与《家语》有关的简牍。在某种程度上证明了《家语》不伪。本文校勘了《家语》与《礼记》中相同的篇章,检视了《家语》与《礼记》的三种可能性,《礼记》与《家语》在文本上存在极大差异,绝不是王肃伪作了《家语》,也绝不会是《礼记》抄袭了《家语》,二者都是流传有本的。儒家文献都来自于原始的弟子笔记,对这些原始材料的编撰,形成单篇的儒家文献,这些单篇的文献分合不定,不同的人据以编订不同的集子,从而形成《礼记》《大戴礼记》。《家语》编撰者所据以编订《家语》的材料同《礼记》相同,而不是抄袭《礼记》。二者出现相同的部分也正是缘于此。《家语》是众多伪书中久成铁案的一部,对它的正名应当警醒我们对伪书的理解,反思什么是“伪”,怎样定义“伪”。     

论《丧服》中的血亲关系——《仪礼·丧服》研究

古人重丧祭,古礼重丧服。《礼记·冠义》说:“夫礼,始于冠,本于婚,重于丧祭,尊于朝聘,和于射乡,此礼之大体也。”《仪礼》十七篇有《丧服》专篇讲丧服制度,并有子夏《传》,这在《仪礼》诸篇中是绝无仅有的。小戴《礼记》四十九篇有《曾子问》、     

《上博七·武王践阼》与《大戴礼记》

本文以简本《上博七·武王践阼》为据,重点考察传本《大戴礼记·武王践阼》在流传过程中文字、章序的变异及与简本的关系,同时对前代整理者的注疏作一简要评析,在此基础上,从大小戴《礼记》间的关系这一角度揭示《礼记》的成书过程.具体事实证明,楚简对于研究《大戴礼记》的内容、成书时代是很有意义的.     

《礼记·昏义》之“合体同尊卑”解──辨夫妇关系有两种古礼说

《礼记·昏义》之“合体同尊卑”解──辨夫妇关系有两种古礼说梁伟弦关于儒家经典所述之古代夫妻关系，有这样一种观点：＂夫妻之间的关系，古礼有两种说法。一是《礼记·昏义》说：＇妇至，揖妇而入，共牢而食，合卺而，所以合体同尊单以亲之也。＇一是《礼记·丧服四制...     

西周昭穆制度的几个问题

西周昭穆制度的几个问题刘海文昭穆制度是我国西周史研究中的重要领域,也是争论较多的问题之一。作者根据有关材料,谈一点不成熟的看法。一西周宗庙制度中的昭穆之序宗庙制度是中国历史上宗法制度的重要组成部分。西周的昭穆制度,与宗庙制度有着密切的关系。《礼记·中...     

先秦姓氏制度研究的历史和现状

在先秦文化史的研究领域 ,姓氏制度应当是一个值得探讨的课题 ,因为姓氏制度并不单纯是一种名号制度 ,而是与当时的政治制度、经济关系、家庭形态、社会心理、礼俗特征等各个方面都有着密切的联系 ,姓氏制度的沿革也从一个侧面反映社会性质的变革。科学研究先秦姓氏制度 ,对于确切理解先秦文献和正确研究先秦时代的历史与文化都有着十分重要的意义。中国对于姓氏学的研究由来已久 ,先秦时代的一些重要典籍 ,例如《诗经》、《春秋》、《左传》、《国语》、《礼记》等等 ,都包含有丰富的先秦姓氏学资料 ,尤其是《左传》、《国语》两书中的宝贵…     

金文“句鑃”、“左守”讨论

金文中有自名“句鑃”的乐器,前人对其名的解释不尽完善,本文利用声韵训诂对“句鑃”一词的内涵意义和音读等多方面内容进行了研究和考证。“左守”一词是西周金文中新发现的,本文结合《三礼》等文献,从青铜礼器的性质、礼仪制度和语法结构、字义训释等方面论证了其含义,并阐明它对研究西周礼器制度的意义。     

战国楚卜筮祈祷简中的“五祀”

五祀即户、灶、中霤、门、行,见于《周礼》、《仪礼》及《礼记》的有关篇章,在战国望山楚简、包山楚简、九店楚简、天星观一号墓楚简、秦家嘴楚简及新蔡葛陵楚简之中,也发现有五祀的记录。通过对简文的分析,我们发现简文中五祀用牲为特牲,这与《礼记·月令》郑注所据《中霤礼》所记相同,同时,对于行神的祈祷,无论尊卑均以犬牲,此可补史记之不足。此外,简文中关于五祀的其他记载,有助于我们正确认识典籍之中的相关问题。     

《亚鲁王》:“英雄史诗”还是“活态史诗”

西方以荷马史诗为范例建构起来的"英雄史诗"观念有两个要素,一是一个民族对另一个民族的战争,一是凭勇敢获得财富和荣誉。"英雄史诗"只是解读《亚鲁王》的一个维度,而不能囊括其作为口头史诗的本质特征。在苗族丧葬仪式上面对亡灵展演的史诗《亚鲁王》是一种活在民间仪式中的文学,它以仪式展演为主要生存形态,以口耳相传为主要传播方式,具有鲜明的活态性。     

Experimental Pesah or,How do you Eat a Lamb while Holding a Staff in your Hand?

The Passover festival has been the ritual expression of Jewish cultural identity ever since the Old Testament got the form it has today. This article looks at the ways cultural identity was expressed in antiquity, critiques the traditional prioritising of the story of exodus over its biblical ritual expression in understanding ancient Jewish identity and explores various Pesah sacrifice instructions in Exodus 12 as an implicit polemical ritual discourse engaged in constructing a ritual of cultural distinction. The article pays close attention to the tension between the invented and the real of the instructions, and attempts to identify the possible cultural other against whom some of the Exodus instructions were constructed.     

The Classic-period pictographs at Juliq’ Cave,Alta Verapaz,Guatemala: an interdisciplinary approach to cave art as organizing principle

The Cave of Juliq’ in Alta Verapaz, Guatemala contains an impressive corpus of ancient Maya rock art. Unlike other examples of rock art in this area, the Juliq’ pictographs are simply rendered, generally consisting of lines, handprints, and other basic shapes. We thus focus on context rather than on iconographic content in order to access the meaning of these ancient pictographs. We argue that they were used to record human presence in and movement through the alien cave environment in specific ways, demarcating procession routes, points of transition, moments of physical prowess, and places charged with sacred power. These circuits within Juliq’ reflect attempts to order the Underworld landscape and link it to the surface world through ritual movement akin to aboveground ritual processions.     

Connotations of Sanxingdui as a Theocratic Civilization

The discoveries of the Sanxingdui culture, including the magnificent ancient city, the splendid bronze ware clusters, the original characters, the great art, the grand ritual center, and other material civilizational elements, contain the essential and structural characteristics of the institutional civilization and spiritual civilization of the ancient Shu civilization and reflect the theocratic regime of the Sanxingdui civilization. As a symbol to command the ethnic groups from southwestern China, the ivory sacrificial ritual in the Sanxingdui culture played a significant role. The discoveries of silk residues and silk proteins at Sanxingdui provide important evidence for the historical records of the Shushan Clan and Cancong Clan, as well as the splendid clothing of the Large Standing Bronze Figure at Sanxingdui, and even the relationship between the Sanxingdui culture and the Southern Silk Road.     

Front and Back Covers,Volume 35, Number 3. June 2019

Front and back cover caption, volume 35 issue 3 Front cover THE RITUAL PROCESS Victor Turner developed van Gennep's concept of liminality, the transitional moment in rites of passage, into an innovative approach to the study of ritual dynamics. He also put the concepts of liminality and communitas to work, so as to understand larger processes of sociopolitical and cultural transformation such as those he was living through in the late 1960s. He was particularly interested in the relation between moments of transition, with their communitarian forms of sociality, and how – paradoxically – they failed to endure, giving rise to new forms of hierarchy. The covers of this special issue present two men jumping across thresholds, signalling its focus on transition. The anticipation and dramatization of transition is a key facet of the routinized ritual life of the Enawenê-nawê, portrayed on the front cover, who live in southern Amazonia, Brazil. While most Enawenê-nawê men are away fishing during the ritual season of Yankwa, hosts anticipate their return by performing a daily spectacle, ending with dramatic jumps into the flute house. During this time of mounting expectation, hosts adorn their bodies with particular care and their rousing performances cater to women and children who watch the spectacle from the dwellings that surround the open central arena. While circling the arena to elicit the fishermen's long-awaited return, the hosts play chaotic and ludic flutes – known as ‘pets’ to the civilized melodic flutes – and take on their character. In this issue, Chloe Nahum-Claudel argues that the Enawenê-nawê have achieved permanent communitas – an egalitarian social structure – by living in a permanent state of transition. Back cover THE OLYMPIAN'S THREE BODIES Competitive sporting events have historically been a prime site of ritual. Indeed, many argue that sport itself is ritualistic in nature. The history of the Olympic Games demonstrates the complex way in which ritual relates to society and to the polity. The lighting of the Olympic flame and the Olympic torch relay are rituals that have been central to the Olympic Games since 1928 and 1936 respectively. Chinese gymnast Li Ning after running, suspended by wires, around the upper rim of the Bird's Nest National Stadium and flying up to light the cauldron with the Olympic flame, the apical act of the Beijing Olympic opening ceremony on 8 August 2008. As an individual body, Li won three gold, two silver and one bronze medal at the 1984 Los Angeles Olympics, nearly 20 per cent of those attained by the national body of China as it re-entered the Summer Games after a 32-year absence. By 2008, Li was a national icon as well for his economic success under ‘reform and opening up’. Now heroic ritual custodianship of the Olympics' most sacred symbol of common humanity was added to his Olympian's status as a human body. Dramatic demonstration of the potential compatibility of Individuality, Nationality and Humanity is at the heart of Olympic ideology and ritual practice and the global attention paid to them. In this issue, John J. MacAloon analyzes the familiar Olympic victory ceremony and its infrequent alterations, such as the reversal in 2002 from gold-silver-bronze to the bronze-silver-gold medal presentation sequencing we know today.     

从梁王陵看西汉帝王的丧葬制度

永城粱王陵自东向西分布,其茔地布局与东方滨海地区的思想背景有关。以梁王陵为代表,西汉诸侯王墓与帝陵存在着相似之处,但它的个性特征亦不容抹杀。     

宋明清仿制三代青铜礼器原因考

宋明清三朝各有不同规模的仿制三代青铜礼器之举,器物质地有铜、瓷、木、竹、漆等.表面上这种仿制活动只是不同时期决策者的个人爱好,深入研究则可以发现其目的是要借此复建以青铜礼器为代表的夏商周三代的礼乐制度,并规范社会行为,是对三代青铜文明的渴求与复兴.     

唐淮南大长公主墓志所反映的唐代历史问题

淮南大长公主墓志是目前发现的形体最大、铭文最长的一盒唐代公主墓志,具有重要的历史和文物研究价值.本文在对淮南公主墓志考证的基础上,对墓志中记载的太平公主、唐睿宗李旦等重要历史人物及著名音乐家王长通的有关史事进行了梳理论证,对墓志所反映的武则天"以周代唐"的重大历史事件以及唐代的礼仪风俗、宗教活动、音乐文化等也进行了较充分的论述.