禹之鼎《王翚骑牛南还图》考略

世传清初著名画家王翚的肖像不止一幅,但真正能够反映其形神的作品,是与他相识多年、以肖像画称著的禹之鼎所绘《骑牛南还图》。本文通过叙述王翚请禹之鼎创作《骑牛南还图》与遍邀名流、友朋题诗的情况,阐释了像主和创作者各自的企望,同时,画家对像主还乡心情的体会深刻,也终令画作得以完美呈现。     

宫殿而林壑——乾隆皇帝乐寿堂与颐和轩的陈设理念

根据档案记载,紫禁城内乐寿堂院中设有山子,山子仿清漪园乐寿堂前的"青芝岫",园林中的陈设被搬到了宫殿里。本文以此为出发点,对乐寿堂陈设及其理念作了详细考证,此外作者对乐寿堂和颐和轩的对联加以深入分析,厘清了春与仁、与寿、与山之间的关系。揭示了乾隆皇帝意图通过宫殿园林化实现长寿的终极目的。     

20世纪二三十年代知识界对贞操的现代诠释

贞操问题自五四以来成为热议话题,新文化人在批判传统贞操观的同时又为其赋予新的内涵。绝大多数新文化人在认同男女共守贞操的基础上,提倡夫妇互守贞操;继而又有人将贞操从婚姻领域扩展到恋爱领域,将爱情作为衡量贞操的唯一标准,强调贞操的“灵肉一致”和“灵先于肉”。这些观念成为知识界的“一般思想”。在这一诠释过程中,人们使用了多种现代知识和现代话语,反映出此时中国知识结构及其话语体系从传统向现代的转型。     

模糊不清的“共和主义”:费城工匠的诉求与美国早期资本主义的发展

美国建国初期,随着政治文化的变动与地方市场的发展,费城工匠的生活面临诸多困境。对此,他们借助“共和主义”的话语追求“公共利益、自由、平等与独立”,以表达抗议与不满。与此同时,工匠的共和话语蕴含着复杂多元的价值取向。这反映了美国早期资本主义发展进程中极其复杂的多重矛盾冲突。这些矛盾,不仅存在于工匠与倾向于“精英统治”的政治精英之间,也存在于工匠内部。当工匠将这些复杂的价值取向转化为行动后,对美国早期资本主义发展产生了意义深远的影响。一方面,工匠促进公共利益的诉求转化为反对精英拥有特权的行动,推进了美国早期自由资本主义发展;另一方面,在美国早期自由资本主义发展过程中,雇主与雇员之间的矛盾加剧,双方对于“平等”的不同诉求,使美国产生新的社会冲突,形成了新的社会阶级。     

唐玉门关地望新探——基于历史文献与考古遗存互证

在实地调查的基础上,根据传世典籍和出土文献的记载,结合年代测定、考古发现和遥感影像资料,通过空间分析,作者认为唐玉门关和墨离军驻地应在河西走廊西段的常乐故城,即今瓜州县“六工古城”遗址。这里是丝绸之路的交通枢纽,是西域出入口的重要关卡,亦即北魏时期新开伊吾道的起首。唐代玉门关地处疏勒河和榆林河下游洪积冲积扇缘的古绿洲,地貌和水资源等地理环境因素是制约关城选址的基础条件,而政治、军事等人文地理因素则是决定玉门关时空变迁的关键。     

思想与行动的距离——中国古代自然资源与环境保护概观

中国古代先后两度出现性质相当不同的资源环境困境。第一次是西周至秦汉时期,主要表现为山林川泽自然资源不敷利用,资源困境的忧思催生了早熟的自然资源保护思想理论和礼法制度。第二次是清朝中期以后,“人口爆炸”造成的巨大资源(特别是土地)危机和生存压力,使18世纪末期(1790年)成为历史上的环境拐点,山区毁林开垦迅速显现出恶劣的环境后果,促使当时社会展开以山林保护为重点的环境保护思考和行动。两者之间是一个思想与行动都显得相对平淡和迟滞的阶段,但也有若干历史情节值得特别注意:一是围绕山林川泽之利,发生了国家从“专山泽之利”到放弃山泽垄断的制度变化;二是先秦诸子的自然观念和资源保护思想,在宋明理学中得到了一次明显升华。     

日本史学中“近世”概念的流变

日本史学中“近世”一词,出现于江户时代,原是当时人自指,即“最近时代”之义。明治维新之后,“近世”所指时代仍为江户时代,其涵义则与近代对立,以至于被归入中世"第二次世界大战后史学的发展使近世得以脱离中世范畴,被视为一个独立时代概念。而在地域研究和近代化论兴起的背景下,近世与当代的关系得到强调,近世的内涵又出现了“最近时代”的意味。“近世”概念出现至今,经历了变义、独立而回归的过程"     

成都博物馆藏东汉陶仙山插座初探

成都及周边地区东汉晚期墓葬中出土有一种明显为仙山造型的陶质插座,倾向于为摇钱树的树座。其整体的三山、平台、洞穴造型及其上较为丰富的人物、羽人、伏羲、女娲、西王母形象应是当时观念中以昆仑、西王母为中心的神仙信仰的表现。将其制作为专门的丧葬用品,一方面反映了当时丧葬文化中的神仙信仰成分和超越死亡的升仙愿望,另一方面也再次印证了西南地区流行的摇钱树的主要内涵应与升仙有关。     

Disability and Social Inclusion: The Blind Songstress in Early Twentieth-Century Guangzhou

This article examines disability as a contested notion of social inclusion by focusing on the blind songstress (guji) in early twentieth-century Guangzhou (Canton). Through personal memoirs, the print press, and institutional documents, this article reconstructs the social life of guji as their experiences intersected with professional community, workplace, and charity. First, I show that the adoption of blind girls from families into training guilds managed by veteran guji was a chosen kinship strategy for blind women since the late Qing period. Second, the commercial sponsorship of guji following the establishment of the Republic not only expanded working opportunities for blind women but also exposed their vulnerability to male-dominated entertainment spheres. Third, the reformist critique of guji as an inappropriate form of sex-related consumption pushed the nascent military government to collaborate with foreign missionaries in “rescuing” blind girls from their professional households. The experiences of guji thus reveal competing ideas of what qualified a disabled person to become a member of society at the beginning of the twentieth century, as work-based inclusion gave way to charitable inclusion as an outcome of shifting social attitudes toward the employment of women with disabilities.     

Editor’s Note

Most previous studies have held that the system of Tubo gaoshen (an honorary identity mark) was an imitation of a similar system in the Tang dynasty, referring to the latter’s official costume decorations for its stratified office-holders. These studies have not given due attention to the characteristics of the title itself. From the perspective of the change of the Tibetan name and based on existing research results and historical records in both Tibetan and Chinese, this article tries to offer a new understanding and preliminary discussion on the development of Tubo gaoshen and several related issues. We find that there are two paths in the evolution of its name: One is from Sug to Yi Ge or Yig, the other is from Yig tsang to Yig tshangs. The former is used to denote a concrete gaoshen and can be added as a prefix while the latter denotes the abstract idea of gaoshen and no attribute can be used before it. When the two are used together, the latter is used before the former, such as in: yig tshangs pa ni zangs kyi yi ge gtong/ (As to the gaoshen [yig tshangs], [he] is awarded a bronze yi ge).