敦煌“伴虎行脚僧图”的渊源探讨

佛教传入中国最重要的问题是外来宗教如何在中国传统思想支配下为民众所接受.作为佛教艺术也不例外,出现了许多与儒教和道教思想相融合的题材,或者纯粹中国式的题材.从最新调查的材料“伴虎行脚僧图”入手,对其形成和演变以及与“玄奘取经图”的关系进行一些探讨,对研究佛教艺术的中国化、世俗化有其重要意义.     

乾隆裕陵棺椁藏文经咒释读

本文重点对乾隆裕陵内所存棺椁上的藏文经咒进行了释读,作者试图通过此项研究,找到清代皇帝棺椁上所刻藏文经咒的基本内容及其宗教意义,并在此基础上探讨清帝对于藏传佛教信仰的真实历史情况。     

玄奘译经活动述论

玄奘译经活动述论张德宗玄奘,俗姓陈氏,洛州郾师人。玄奘在中国佛教历史上的伟大贡献,简而言之,一是创立了唯识宗,二是译经活动。本文拟对玄奘译经活动的内容、特点、意义等问题作一探讨,不当之处尚希指正。一随着佛教传入中国,佛教经典的翻译工作也随之开始。相传...     

影响帝国命运的僧人——寻找玄奘的归宿

玄奘与大唐,一个是中国最杰出的佛教人士,一个是中国历史上最强盛的帝国,两者之间的恩怨情怀给后人留下了足够的想像空间。玄奘的一生,对中国乃至亚洲许多国家的宗教和学术界都产生了无法估量的影响。事实上,正是大唐雄风和长安城,才成就了玄奘的世界声誉,而玄奘也最终影响了一个帝国的命运……     

伏虎罗汉、行脚僧、宝胜如来与达摩多罗——11至13世纪中国多民族美术关系史个案分析

本文从分析宁夏贺兰山山嘴沟所见伏虎罗汉入手,梳理了汉藏罗汉图像的差异,重点考察了藏传佛教罗汉中伏虎罗汉、布袋和尚与达摩多罗图像的来源。作者认为,达摩多罗名号与图像的形成与吐蕃禅宗、禅宗保唐派、唐五代行脚僧及其变化的宝胜如来信仰密切相关,并与佛陀波利以及流行于两宋的布袋和尚信仰相互交织。论文解释了新罗僧与宝胜如来的信仰如何引发藏传罗汉达摩多罗与宁夏贺兰山之间特殊的联系,这些错综复杂的信仰与图像演变是中国11—13世纪多民族美术关系史的集中映现。     

“唐船商人”:活动在东亚海域贸易前沿的群体

"唐船商人"是近世时期活动在东亚海域贸易最前线的人群,亦是处在清朝对日贸易体系最基层的群体,然而关于这一群体,特别是他们在海域贸易活动中的位置和处境迄今鲜有深入的综合性研究。本文通过日本史料所存清朝官方颁发的出海许可证书、日本长崎有关唐船的进出港档案,以及唐通事教科书等文献,考察在清朝出海管理体制下赴日商人的地位,同时揭示他们在中日双方国家权力的挤压间挣扎求生的处境,进而尝试对这一群体的历史形象重新进行修正和评价。     

安塞樊庄石窟取经图像初探

陕北安塞樊庄石窟第2窟西壁和南壁下方雕有两组玄奘取经浮雕.第一组为负笈僧人与挑担挑夫,四壁雕有罗汉,应以取经故事表现位列五百罗汉之一的玄奘.第二组位于水月观音下方,计九人一马,表现了迎接玄奘取经归来的场景.本文拟以樊庄石窟浮雕为个案,探讨陕北宋金石窟中唐僧取经浮雕融入水月观音变相初期的图像风格,以及此类图像在北宋、金、...     

千泉、白水城和恭御城考辨

根据汉籍史料和阿拉伯地理文献,区分了中外史料记述的不同,考辨了千泉、白水城和恭御城的方位。玄奘所言"千泉",当在今哈萨克斯坦的梅尔克;玄奘所言千泉与阿拉伯地理学家所记之千泉,并非指称同一地方。玄奘所记白水城与阿拉伯地理学家所记之白水城(Isfijab)不能相等同;玄奘所记"白水",似应"泉"字之讹,即为阿拉伯地理学家所记之千泉(Abarjaj);而玄奘所记"恭御城"是阿拉伯地理学家所记之白水城。     

读《日藏弘仁本文馆词林校证》

唐人所编大型总集《馆词林》在中国亡佚已久,日本则藏有若干古抄本;到清代由日本陆续传回若干,学们从中辑得诗甚夥,但过去国内印行的各本《馆词林》皆未能包括日本所存之全部,新近由中华书局出版的《日藏弘仁本馆词林校证》以日本古典研究会推出的30卷本为底本,又经过很好的加工整理,乃是该书存世遗最丰富也最好的本子：此本提供了大量的信息,大大有助于将中古学研究推向深入。可惜该校证本立下了这样一条凡例：“只以载有《馆词林》所存篇目的其他典籍作比勘。所谓比勘,只是交待其他献的刊载情况,个别残脱字据之补入,并不予以通校。”这样就不免留下了若干遗憾,降低了整理的水准。     

宋代玄奘的聖化:圖像、文物和遺迹

唐代已出現玄奘聖化相關的傳奇、齋儀、禮拜法,以及和他西行求法有關的深沙神信仰。入宋以後,玄奘的聖化更以圖像、宗教文物和遺迹崇拜的形式展現。除了以頭部的圓光顯示玄奘的聖化之外,最值得注意的是寺院壁畫中玄奘左手執梵夾、右手"屈二指"作爲其聖化的表徵,此種形像傳到日本之後,成爲鎌倉時代法相宗祖師玄奘圖像的標幟。此外,玄奘更成爲被禮拜的神祇,包括被繪入"五百羅漢圖"中,作爲羅漢受人恭敬禮拜;以及寺院經藏殿中設有玄奘像,僧徒朝夕供養。玄奘的聖化也顯現在對其舍利的重視,以及他晚年譯經的玉華寺、埋藏其遺骨的興教寺,也都成爲人們瞻仰的聖地。     

On the origin and presentation of images of traveling Buddhist monks on pilgrimage for sutras with tame tigers in the Dunhuang Mogao Grottoes

Abstract

The creation of the “images of traveling Buddhist monks on pilgrimage for sutras with tame tigers” preserved in the Mogao Grottoes resulted from a syncretic cultural and religious development in the Tang and Song dynasties. It was not drawn on the events of the pilgrimage of Xuanzang 玄奘, as is generally believed in academic circles. The intrinsic principles contained within the images transcend their external features: the development of Esoteric Buddhism and the phenomenon of traveling monks in the periods and their fusion with Central Plains folk culture imbued the images with the influence of both exoteric and esoteric schools of Buddhism, together with folk beliefs; on the other hand, the creation of the “images of traveling Buddhist monks on pilgrimage for sutras with tame tigers” reflected “Ratnasambhava tathāgata beliefs,” which were prevalent in the Dunhuang region in the Tang and Song dynasties. Via metaphorical presentations of iconized monks, these images provided the expression of multiple religious beliefs.     

密教传播与宋元泉州石造多宝塔

地处海上交通要道的泉州历来受到海外文化影响,亦包括印度文化及密教的渗透;13世纪伊斯兰世界对印度的入侵使大量密教僧人外逃,与这一时期中印海上交通频繁相对应,对泉州的影响也更为明显。泉州传统建筑遗迹中,有大量受到密教的影响,除在造像、梵文种子图及开元寺大殿等木构建筑中有所体现外,更多表现在宋元时期的石建筑中,如宝箧印塔、多宝塔、石经幢等;其时间段集中在宋元时期,且随着时间推移呈现出影响更浓厚、遗迹数量更多的趋势;这一趋势表现出与泉州海外交通发展渐趋繁荣的同步性。本文通过较系统的现场调研,以宋元泉州石造多宝塔为例,对这一进程进行了一定程度的揭示。     

From prophecy to apocalypse: the verb tenses of Jerusalem in Robert the Monk's Historia of the First Crusade

In the prologue to his Historia of the First Crusade, Robert the Monk posed this rhetorical question: ‘since the creation of the world what more miraculous undertaking has there been (other than the mystery of the redeeming Cross) than what was achieved in our own time by the journey of our own people to Jerusalem?’ For Robert, the answer was of course simple: nothing was more miraculous. Yet when we answer that question along with Robert, we lose sight of its significance, and how staggering that claim actually would have been in the early twelfth century. For Robert, the events of 1095–9 signalled a new moment in sacred history. Old Testament prophecy had come true in his own day. What ‘was to come’ became what simply ‘was’. For Robert the Monk, prophecy became apocalypse.     

论梁启超近代国家思想提出的内在逻辑——以《清议报》为中心

梁启超刊发于《清议报》的大量文、论,清楚展现了他提出近代国家思想的内在逻辑。戊戌政变发生后,梁启超被迫流亡日本,“效申包胥之哭”,乞师日英,终以失败告终。以此为契机,梁启超开始关注日英对华政策,充分认识到保全即瓜分的本质。而后,他以西方的近代国家思想为理论基础,果断提出依靠国民实现国家独立的全新命题,《清议报》遂成为梁启超输入并阐发近代国家思想的园地。但作为“康党”的“机关报”,《清议报》同时并存着保皇尊王与依靠国民两条不无紧张的独立路径,这既是其“党报”性质使然,也显示出该报的过渡特征。     

Arnulf of Lisieux and the crisis at Grestain 1164–6: brother bishops,inherited policies and failed leadership

ABSTRACT

This article examines the failed reform of the abbey of Grestain by Arnulf, bishop of Lisieux (r. 1141–81). Faced with a disobedient abbot, in whose absence the monks had resorted to violence and murder, Arnulf saw an opportunity to stamp his authority on his diocese by turning the monastery into a house of canons regular. Arnulf’s policies were shaped by the example of his older brother John, bishop of Sées (r. 1124–44), and his uncle and predecessor in his own bishopric John of Lisieux (r. 1107–41), as well as his mentor Geoffrey of Lèves, bishop of Chartres (r. 1116–49). A close reading of Arnulf’s letters demonstrates that Arnulf's conception of religious leadership and his representation of the crisis at Grestain were formed not only by familial networks, but also by the wider social and educational ideals of the eleventh and twelfth centuries filtered through the Victorines.     

莫高窟第76窟八塔变相关问题再探

莫高窟第76窟内的八塔变图像出现于宋初时期,其粉本应是中印佛教交流过程中由印度僧人传至敦煌的。而这一题材绘入洞窟时正处在敦煌末法思潮盛行的背景之下,作为正法象征的八塔变壁画蕴含了信众渴求佛法不灭的心愿。同时,莫高窟第76窟作为大族营建的家窟,具有举办佛事活动的功能,八塔变与窟内其他题材的相互联系能够更好地服务于信众的信仰实践活动。     

Reproducing the indigenous: John Møller’s studio portraits of Greenlanders in context

Between 1889 and 1922, John Møller (1867–1935), the first professional Greenlandic photographer, produced more than 3000 glass plate negatives documenting life in Western Greenland around the turn of the twentieth century. Rooted in an internal understanding of self, Møller’s photographs played an important part in the formation of a contemporary image of Greenlandic indigenous identity. At the same time, Møller’s photographic practice was arguably entangled in and delimited by a historical reality that was structured by colonial relations of power. This paper examines the social and art-historical contexts of Møller’s work, focusing in particular on a selection of his formal studio portraits. My reading of these portraits suggests a case in which conflicting impulses coincide. On the one hand, Møller produced images that played out the “ethnographic convention”, a European form of representation dating back to the sixteenth century used for the documentation of non-Western indigenous peoples as specimens. However, in acting out that convention, Møller’s photographs hint at a subtle, progressive building-up of identity that reclaimed images of Greenlanders for themselves, and turned an originally negative, external image of indigeneity into a positive sense of self.     

Loyalist,patriot, or colonizer? The three faces of Zheng Chenggong in Meiji Japan and late Qing China

ABSTRACT

This article examines the transformation of Zheng Chenggong’s image in Meiji Japan and late Qing China. Prior to the mid-nineteenth century, Zheng Chenggong was often depicted as a Ming dynasty loyalist in Chinese narratives and as a Japanese hero adventuring in a foreign land in Japanese narratives. The two groups of narratives converged in the late nineteenth and early twentieth centuries, transforming Zheng Chenggong into a patriot, an anti-imperialist hero, and a conqueror and developer of Taiwan. Underlying the convergence of Chinese and Japanese narratives of Zheng Chenggong was surging nationalist sentiment in response to different forms of imperialism. This study aims to show how different nationalist agendas activated efforts to recreate Zheng Chenggong’s image in China and Japan at the turn of the nineteenth century.     

民族英雄的尺度：《白话本国史》教科书案研究

1935年,国民党上海市党部以吕思勉《白话本国史》"丑诋岳飞,推崇秦桧"为由而责令修改;有人以此控告商务印书馆与吕思勉,法院决定不起诉。《白话本国史》中的岳飞叙述,不利于在民族危机中激发民族意识来抵抗日本侵略;但其中反军阀思想,有利于国民党加强中央权力,又为南京政府所需要。该案的处理方式反映了国民党政府对民族英雄叙述的尺度:尊崇岳飞为民族英雄,突出其反抗外族侵略的一面,希望借助其抗金形象来振发国民志气;同时把岳飞叙述限制于抗金事迹中,弱化其武将身份,警惕其对军阀政治的影响,以加强国家统一。