浙江海宁汉画像石墓两幅祥瑞图考辨

海宁汉画像石墓前室的两方"祥瑞图"内容丰富,但因没有榜题而难以定名。本文在前人考辨的基础上,结合相关史料,对图中所刻祥瑞重新予以考析,并提出了自己的见解。     

楚系铭文中的“孟庚”与“孟甲”

本文对■夫人■鼎铭文中以往误释的"孟甲"进行了补释,并就相关问题进行了讨论。     

“天鹿锦”或“麒麟补”

本文以故宫博物院藏织绣珍品《纳纱天鹿图》卷为研究对象,修正了乾隆帝命名为"天鹿锦"的错误解读,并从纹样、品名和工艺方面提出补充认识,指出明代的"天鹿"亦称"麒麟",明代麒麟多作长颈鹿形状,而此件文物本应为一件麒麟补子。     

祥瑞與北宋徽宗朝的政治文化

通過與宋真宗朝的比較,本文探討了北宋徽宗朝的祥瑞體系及其所體現的政治文化背景。徽宗朝祥瑞體系與傳統的區別在於:首先,徽宗朝的祥瑞是日常存在的,而非突發的事物。其次,徽宗朝瑞物的核心部分,是當下的製作,主要是新製禮器。再者,君主本人是祥瑞體系的重要組成部分。徽宗朝的祥瑞體系建設,並非爲了合法性,而是展現了徽宗時代"自我作古"的歷史定位;其内容與手段,則體現了"儒學復興運動"之於現實政治的雙刃劍意義。     

巴蜀符号的变迁及其性质分析

巴蜀符号主要发现在东周时期巴蜀青铜兵器、青铜工具和青铜印章上面。依据不同载体,分析了巴蜀符号的特征与演变。不同功能的器物上的巴蜀符号类型差异明显,当时的人们在使用这些符号的时候是有明确的区分,说明它们的性质、功能应该有所区别。青铜兵器上巴蜀符号可能与古蜀的古老传说和信仰密切相关,当时的人们相信其具有神奇的力量,能够增强兵器的神奇威力。印章上的符号可能象征吉祥的喻意,活人佩戴有护身符的性质,随葬于墓中有护佑死者的作用。青铜工具上的符号最大可能是代表所有者或生产者标识性徽记。     

Making His Return with Fullness of Will and Upholding Aspirations

The year 2015 marks the 20 th anniversary of the enthronement of the Eleventh Panchen Lama.Born on Feb.13 th,1990 in Lhari County,Nagqu Prefecture of Tibet,the Eleventh Panchen Lama was enthroned in the Tashilhunpo Monastery on Dec.8th,1995 after a traditional lot-drawing ritual in the Jokhang Temple in Lhasa and being approved by China's State Council.China's Tibet published a commemoration album for the 20 th anniversary of the enthronement of the Eleventh Panchen Lama and invited Honorable Lhagpa Phuntsok to write the preface.Here we share it and the auspicious moments in the album with our readers.     

五管瓶初论

五管瓶为古人沟通天地的媒介,发源于东汉,经历代发展至宋到达鼎盛,其作用也由随葬的明器发展为具有象征意义的陈设用器。其象征意义与阴阳五行等中国传统文化思想相关,蕴涵吉祥之意。     

‘All the king's men’? Refashioning global nuclear order

Is the moment auspicious, as William Walker has argued, for a rebirth of the world nuclear ordering project? An auspicious moment would be marked by three key factors. First, the United States would seek to assert significant leadership and moreover would be able to do so on a sustained, bipartisan basis. Second, other actors essential to the project would be ready to lend their thinking and power to this effort. Third, a few key ideas about the management of the emerging challenges of deterrence and abstinence would have emerged and garnered substantial international support. All three factors are lacking today. But the time will come. To accelerate the arrival of the necessary vision and will, the policy and analytical communities should set some priorities and focus on a few hard problems.     

谈江南綵衣堂建筑彩画的艺术独特性

翁同龢故居"綵衣堂"的建筑彩画是中国现存明清建筑装饰艺术中的精品。"綵衣堂"彩画普遍运用了宋锦纹饰和包袱锦形式,在继承传统的基础上又有艺术创新;其"瑞鹤祥云"的主题纹饰体现了独特的精神内涵;工艺上也综合运用了不同等级的作法。綵衣堂是建筑艺术和装饰艺术结合的成功范例,值得后人深入研究。     

云象、望气、矿藏:“金马碧鸡”传说的生成过程

"金马碧鸡"是我国西南地区重要的地方传说。关于"金马碧鸡"传说的由来,以往研究者提出的自然现象说、矿产说虽有合理之处,但忽略了地理环境和西汉社会动因对该传说的塑造作用,未能解析这一传说的形成轨迹。笔者从多维贯通的视角出发,研究认为:云南大姚一带山区的云象奇观和丰富的铜、碧矿藏资源是该传说生成的基础,在西汉"崇祥重祀"的社会背景下,望气之术则成为贯通二者的思想纽带,并将之解释为一种"金碧其质、鸡马其形",代表金玉之气的祥瑞吉兆。     

I WITNESSED HOW THE SOUL BOY OF THE 10TH PANCHEN ERDENI WAS DETERMINED

In the wee small hours of the morning of September 29, 1995, the ceremony of drawing a lot from the golden urn was held in Jokhang Monastery in Lhasa to determine the reincarnated soul boy of the 10th Panchen Erdeni. Curu Cenang, a famous Tibetan medicine doctor as well as astrologer, chose the auspicious day by studying the ancient Tibetan calendar. The system of drawing a lot from the golden urn originated from Emperor Qianlong of the Qing Dynasty. The reincarnation system can be traced…     

略谈太平天国忠王府苏式彩绘

苏州太平天国忠王府现存四百余方梁枋苏式彩绘,这些彩绘内容多为传统吉庆题材,寓意吉祥祈福。众多木构件上的彩绘是明清以来苏式彩绘的典范,为明清时代所留而经太平天国利用改造而成;九幅壁画则是太平天国时期的作品,体现了太平天国壁画的艺术特色。忠王府苏式彩绘为研究明清苏式彩绘和太平天国彩绘提供了丰富的资料。     

殷人尊东北方位说补证

殷人有重视东北方位、把东北看作是吉向尊位的传统观念。这是由于商族起源于东北地区的古渤海湾一带。甲骨文中“东北”为尊位而“西南”为卑位。商代都城规划中重东北方位的经营,如郑州商城、偃师商城、黄陂盘龙城、夏县东下冯商城、新近发现的焦作府城商代城址和洹北商城等莫不如此。尤以殷墟都城的规划布局重东北方位为甚,如殷墟地区时代最早的遗址在殷墟都城的东北部;殷墟都城之宫城正位于整个都城范围的东北部;殷墟发现的车马坑与大墓的位置关系也表明尊东北方位,等等。     

再论四川的菩提瑞像

本文通过四川菩提瑞像的组合形式及国内其它地区同期遗存的相同造像的状况,论述了此类像之定名应称作菩提瑞像为宜,并指出它的流行是唐代瑞像崇拜的结果,同时分析了其与佛顶佛和大日如来像之关系。     

Kalacakra Tantric Tangka Art

Tangka refers to silk, linen or woolen fabric painted scrolls in Tibetan. Before making a Buddha image, followers of Tantric Buddhist will hold some rituals, including reciting sutras, offering sacrifices, dispensing alms, freeing captive animals, and inviting eminent monks to pray for the workplaces, instruments and materials for making the Buddha image. Those painters who will paint image will also bathe and be purified by incense smoke, pray and perform some Buddhist activities before wor…     

织绣文物中的寿字装饰

我国于汉代已经在织锦的铭文中使用寿字.到明清时期,寿字与象征长寿的仙桃、菊花、仙鹤及寓意连绵万代的葫芦、字和寓意喜庆幸福的灯笼、蝙蝠等组成吉祥图案。寿宇的字体也随着时代的发展而不断丰富。本文按时代顺序将寿字的字形排列梳理,不仅可供读者了解其丰富的文化内涵.而且根据寿宇的字形变化.可作为判断织绣文物年代的一种依据。     

A Symposium on American National Character

The articles in this symposium address four themes in relation to the question of American national character: citizenship (Rogers M. Smith), community mores (Rick Santorum), participation (W. B. Allen), and governance (Philip A. Wallach). They are the beginning of our effort to investigate, assess, articulate, and perhaps claim—or reclaim—an ethos shared by the American people. Emerging out of the first phase of our American National Character project, they are far from exhausting the subject but represent an auspicious commencement of a contemporary effort no less important that that described by Washington during the founding era. “[W]e are either a United people, or we are not.” Let us hope that we are and that we can rediscover the roots of America's common cause and act as a nation.     

幻景中的沉城记忆:清代黄淮运交汇区的湖市蜃楼

沉城之灾是水环境变迁引发的极端事件,湖市蜃楼以祥瑞的幻景方式重复着沉城的灾难记忆。黄淮运交汇区湖泊水系众多、河工频繁,为明清时期蓄清、刷黄、济运的水利核心区。尤其清代以后,治河无须兼顾护陵,湖泊环境的剧烈变迁引发洪泽镇、泗州城等沉入水底,给当地环境社会带来深远影响。史籍中有关湖市蜃楼的记载多见于湖面急剧扩大的清代,在洪泽湖、高宝诸湖上均有发生;蜃景发生时多被与时间空间上最近或影响最大的沉城事件联系起来。沉城再现的湖市蜃楼固然不可信,但幻景中包含了百姓的灾难记忆,提醒人们历史需被记忆,灾难不应遗忘。     

康熙天坛祈雨的历史书写与史实考析——兼论康熙雍正灾异观念演变及其影响

康熙早年虔信精诚格天,分别于十年、十七年、十八年、十九年、二十六年五次亲诣天坛祈雨,二十六年底为孝庄祈寿未果后,对"天道"认知发生显著变化,停止亲诣天坛祈雨,在荒政方面更侧重防灾备灾与人事赈救。《清圣祖实录》纂修者基于雍正的灾异观念,篡改康熙十七年、十九年降雨时间,删削康熙对停止亲诣天坛祈雨的解释,从而维护康熙敬天的"圣君"形象和上天的"灵验"形象。康熙不言祥瑞,对灾异持务实态度。雍正的灾异观念虽然有助于他加强君主集权,提升统治效能,但很大程度上也造成官僚系统灾情呈报的讳匿风习,对民生吏治与国家治理产生负面影响。     

The oracle landscape of Orchha,India: reclaiming the lost heritage

The historic landscape of Orchha in Central India, once the capital of the Bundela Rajputs from 1531 to 1783 CE, was read as an oracle promising well-being and affording protection. Site readings and mappings of the landscape show that the built environment was visualized as a concrete embodiment of archetypal imagery of cosmic mountain and pillar, mandala and yantra, and sites of the epic Ramayana. Design strategies for envisioning, or reading this auspicious landscape, consisted of deliberate location and orientation of temples and palaces, interior surfaces as spaces of representation of narrative imagery, and spatial transposition. Today this visual structure is illegible due to abandonment, encroachment, and new development as a result of increasing number of pilgrims and tourists. Grounded speculation from site studies of the cultural landscape is proposed as the frame for reclaiming the lost heritage. Preserving view sheds and planning heritage trails will amplify the hidden visual structure of Orchha and suggest the reconciliation of myth and history.