楚国青铜礼器组合研究

我国商周时期的青铜礼器数量大,种类丰富,制作精致,是华夏古文化的精华。在商周社会,礼器是贵族奴隶主在祭祀、宴享等重要的仪礼性活动中使用的一种器物。青铜礼器只有贵族才能使用,不同等级的贵族所使用的铜礼器的数量、种类、大小都有严格的区别。所以,铜礼器在奴隶社会是“明...     

汉画像石所见周礼遗俗

本文结合文献资料,具体考释了汉代画像石中的"孔子见老子"、"胡汉战争"、"投壶"等画像,认为这些画像所反映的献挚礼、献俘礼、投壶礼皆为周代遗俗.     

从青铜器铭文看周代的赐"膰"礼

一、关于赐膰礼的争论在周代,天子、诸侯祭后有赐胙的习俗。如《左传》载庄公二十三年,楚成王贡献于周惠王,天子赐胙。僖公九年,王使宰孔赐齐侯胙。     

南宋进书仪探析——以圣政为例

南宋时,圣政修纂完毕后,须进呈皇帝和太上皇。在进呈过程中,宋廷制定了一套庄严肃穆而又极其烦琐的仪式。进呈皇帝之仪在皇帝和大臣处理日常政务的垂拱殿中完成。进呈给太上皇帝之仪在太上皇帝居所完成。在迎奉圣政和皇帝赴太上皇帝居所的环节中,秘书省道山堂和祥曦殿成为与进呈仪式紧密相关的空间。圣政的进呈仪式是由太上皇帝、皇帝、臣僚面向公众共同完成的两场表演,这种可视化表演具有浓厚的象征意义:对皇帝而言,是向天下臣民宣示自己总结和继承先朝的政治遗产,开启本朝的治道,并且以自身的实践教化臣民,传递"孝"的理念,倡导"孝";对臣僚而言,通过仪式表演,表达了他们致君"贤能"的愿望。圣政这种史籍的进书仪式为我们考察南宋官修史籍进书仪式提供了一个典型案例。     

殷墟出土青铜礼器铸型的制作工艺

前言作为商代晚期的都城,殷墟也是商代后期青铜铸造业最重要的基地,遗址内出土有大量陶范、芯、模,熔铜、盛铜器具,制范、铸后清理所用工具,以及相关的遗迹、遗物等。这些出土资料为我们了解殷墟青铜器生产的工艺流程,印证或是修正以往关于某些技术细节的猜测和假说,提供了重要的依据。     

清代瓷质祭礼器略论

本文通过对故宫博物院藏瓷器实物的考察,并结合《皇朝礼器图式》、《备物昭诚》等内府彩绘本清代典制书籍,考述了礼书记载的各式瓷质仿古礼器在乾隆时期确有生产,且嘉庆、道光、咸丰、同治、光绪朝都有补做。同时,因清代礼制规定国家诸祀和内廷诸祀的行礼场所和受祭对象不同,导致瓷质祭礼器的生产制度、造型与种类也有所差别。     

成物祈求或技术控制——青铜时代铸铜祭祀功能再析

在中国青铜时代的王都、诸侯国的都城遗址或区域中心,有大量的铸铜祭祀遗存被发现。以往对铸铜祭祀的功能分析多是基于后世文献的相关记载,认为"女性投炉"是确保铸铜能够顺利进行的一种成物祈求。然而从仪式化生产的角度来看,这一时期铸铜祭祀的成物祈求作用并不突出,铸铜祭祀本身可能和铸铜技术一样,作为重要的知识体系为统治阶层所掌控,成为其权力控制的一种方式。     

论徐州西汉乐舞俑的艺术特色

徐州地区出土的西汉乐舞陶俑,其造型采用大写意手法刻画舞俑的形体、动作、表情,同武俑不仅具有艺术的共性。还有细微的个性特征,生动地表现了汉乐舞艺术的时代风格。     

Rock Art and Ritual: An Archaeological Analysis of Rock Art in Arid Central Australia

Rock art researchers throughout the world have explicitly or implicitly invoked ritual as an activity associated with the production of rock art but the articulation between the structure and composition of rock art assemblages and ritual behaviour remains poorly understood. Anthropologist, Roy Rappaport (1999) argued that all ritual, whatever the content or focus, has a universal structure. We review this proposition in the context of ritual studies and propose a method aimed at assessing the potential for identifying ritual structure in rock art assemblages. We discuss an archaeological analysis undertaken on the rock art assemblages in arid Central Australia, which aimed at distinguishing such a ritual structure among engraved assemblages, likely to have a Pleistocene origin, as well as more recent painted, stencilled and drawn assemblages. This analysis, despite its limitations, provides the foundation for developing a model, which will enhance the understanding of the relationship between the production of rock art and ritual.     

汉代皇帝宗庙祭祖制度考论

西汉初,叔孙通采撷先秦古礼及秦制,确立汉朝皇帝宗庙祭祖制度。其中既不乏沿袭传统的因素,也混杂有当时不同地域的文化,还有出身于庶民阶层的汉统治者所熟稔的民间俗文化的因素。汉武帝以后,儒学在思想意识和社会生活领域中的主导地位逐渐确立。儒家若干典籍记载的所谓周代天子祭祖礼制,对汉代皇帝修订宗庙祭祖制度,产生了深刻的影响。不过,两汉时期皇帝宗庙祭祖制度,与儒家典籍的相关记载以及若干儒生的诠释相比,二者并不完全吻合,而是前者依据现实需要,对后者多有变通,由此导致制度本身时刻处于调整、变化的动态过程之中。     

殷墟青铜礼器铸造工艺研究综论

本文评述了与殷墟青铜礼器铸造工艺研究相关的技术史、考古学和艺术史文献,概述了殷墟治铸遗址的发现和研究状况,分析取得的认识和存在的局限,探讨了在技术演进、文化传播及治铸业的组织管理等方面值得深入的问题.     

从曲阳到浑源:北岳移祀过程补考

顺治十七年(1660年),自汉代以来就在直隶曲阳县举行的祭祀北岳礼改在山西浑源州举行。这次移祀事件有复杂的历史背景,首先五代之际北岳祭祀地点确实存在变化,其次至少金元之际就已经出现了浑源北岳说,到了明代弘治六年(1493年)马文升提出北岳移祀一事时,浑源北岳说无论是在以方志为代表的文本上,还是在实际的祭祀活动中都得到了延续和发展。     

从古代中日两国的交流看宗像·冲之岛的祭祀遗址

在日本冲之岛发现23个祭祀遗址,可分岩上、岩阴、半岩阴半露天、露天4类型,年代约为4世纪中叶至9世纪后期。祭祀由当时日本的中央政权主持,当地豪族宗像氏参与,目的在于向统管此海域的女神祈求航海的平安。古代日本与中国交往频繁,这在冲之岛祭祀遗址出土的许多供品上都有反映。     

An Archaeology of Landscapes: Perspectives and Directions

This review calls for the definition of a landscape approach in archaeology. After tracing the development of the landscape idea over its history in the social sciences and examining the compatibility between this concept and traditional archaeological practice, we suggest that archaeology is particularly well suited among the social sciences for defining and applying a landscape approach. If archaeologists are to use the landscape paradigm as a pattern which connects human behavior with particular places and times, however, we need a common terminology and methodology to build a construct paradigm. We suggest that settlement ecology, ritual landscapes, and ethnic landscapes will contribute toward the definition of such a broadly encompassing paradigm that also will facilitate dialogue between archaeologists and traditional communities.     

郑国青铜礼乐器祭祀坑相关问题讨论

新郑祭祀遗址出土青铜礼乐器作为祭祀重器,是春秋中期郑国特殊祭祀文化的具体表现.不同遗址出土器物组合的差异,从器物层面体现了当时郑国高等级贵族间的微妙关系,轮流执政的卿大夫已经掌控了包括土地所有权在内的多项国家权力,拥有和国君同等级的礼器、乐器使用权,仅在用鼎数量方面存在着差异.作为祭器的祭祀坑出土青铜礼乐器和同时期墓葬出土器物有着本质上的区别,表明当时祭祀礼仪仍然严格遵循着传统礼制,也正是由于这个原因,不能将遗址出土青铜乐器与"郑卫之声"简单地等同分析.     

Sit,Cook, Eat,Full Stop: Religion and the Rejection of Ritual in Auhelawa (Papua New Guinea)

ABSTRACT The Auhelawa people of Normanby Island (Milne Bay Province, Papua New Guinea) typically observe the death of an individual through a series of feasts in which the lineage of the deceased and its lateral relatives exchange food and perform rituals of mourning. Recently, a number of people have decided to reject all forms of ‘custom’ in favor of a practice of ‘Christian custom’ in which no food is exchanged and no rituals are performed. This paper examines the way people view custom and its Christian alternative. It argues that the basis for Christian forms of mortuary feasting is a shift away from thinking of feasts in terms of reciprocity and towards thinking of them in terms of traditional customary rules. In this context, active church members have begun to represent the absence of markers of custom as itself a marker of an alternative Christian custom. I argue that this reformulation of the relationship of custom and change is meant to give concrete form to the value of Christian individualism as the basis for sociality. The paper then concludes that in order to explain historical changes in ritual systems, the study of ritual needs to examine ritual in relation to the values that underlie it.     

Landscapes as a symbol of nationhood: the Alps in the rhetoric of the Lega Nord

ABSTRACT. While the dominant discourse of the Lega Nord, the party that proposes the independence of ‘Padania’, i.e. northern Italy, emphasises the region's economic success, contributions in the party literature on the Padanian landscape focus on the Alps. The Alps symbolise both the rootedness of the nation in tradition and ethnic identity and the intrinsic link between these traditions and modernity. They embody self‐government of mountain communities and local traditions of political autonomy, but also appear as a protective bulwark against invasions of the Padanian lowlands. The focus on the Alps, an economically peripheral territory, is symptomatic of the reluctance to represent the environmental degradation caused by development in the lowlands. Contributions on the Alps, however, also reveal the tension between modernisation and the preservation of culture and territory and the need for new development models. Discussions on the Alps thus reveal the contradictions in the party's construction of a national identity based on modernity rooted in tradition.     

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.     

A historiography of an ahistoricity: on the beothuk indians

The Beothuk Indians of Newfoundland have long been perceived as a cultural anachronism in the native history of northeastern North America. They appeared to represent cultural holdovers from some earlier age that had been preserved in a primitive state due to isolation on a cold North Atlantic isle. To many, their history seemed shallow, timeless even. Those that supported this position did so by drawing on four lines of evidence. They interpreted Beothuk material culture and other cultural “traits” as indicative of an archaic state; they cited the Beothuk's place of residence‐a northern island‐as evidence of isolation from other peoples and the march of time; they cited linguistic differences as further evidence of isolation; and finally, the fact that the Beothuk became extinct seemed to offer proof that these people had indeed belonged to another age, incapable of making the leap from prehistory to the modern era. This article explores this evidence and attempts to understand the “logic” or rationale by which scholars come to view the Beothuk and their history as timeless.     

The Archaeology of Myth: Rock Art,Ritual Objects,and Mythical Landscapes of the Klamath Basin

Recent research in the Klamath Basin has shown that rock art and landscape are intimately connected, mutually informed by indigenous notions of sacred places. Modeling this landscape has been possible through an understanding of Klamath–Modoc myth. This has led some researchers to derive general interpretations of the rock art that are largely in agreement with Klamath–Modoc spiritual beliefs. I take this approach a step further and propose interpretations for specific rock art images and ritual objects, arguing that oral traditions harbor the fundamental logic that underpinned shamanic rituals that led to the creation of these paraphernalia.