新发现湖北《茅田王氏宗谱》所存冯京等宋人佚诗文辑考

湖北通山茅田王氏系江西德安王韶第八子王定的后裔,新发现《茅田王氏宗谱》自宋淳熙戊戌年(1178)至民国辛巳年(1941)凡13次续修,完整连续,可信无疑。该谱所存冯京、王厚、王彦融等宋人诗文未被《全宋诗》《全宋文》所录,甚为珍贵,本文辑出且略加考证。     

历史学的传承与启新--冯尔康先生访谈录

冯尔康先生的治学,既承继了中国史学的优秀传统,又在新时期史坛中,大力推动并开展了社会史学的研究,为近20来中国史学界极富开创性的学者之一。他在清代政治史、社会经济史、史料学和中国古代社会结构史,尤其是社会史研究领域,均做出了较大的学术贡献。他在理论创新和具体研究中所形成的开拓性、包容性、前瞻性的治学特点,尤具学术魅力,启人新知。     

试论宋神宗时期的州县省废

撤废州县政区建制是熙丰变法的重要内容之一。自熙宁元年至九年,尤其是王安石当政期间,一批户少役繁的州县被撤销。虽在宋神宗主持新政时期,有部分已废州县得到复建,但整个宋神宗时期仍有22个州、116个县被撤。省废州县,裁官减役,省费节流,对缓解当时冗官冗费和减轻百姓的负担,具有重要意义。这项务实的改革,遇到的阻力不大,在元祐初大部分得以幸存。     

韩国粉青沙器的白化妆土工艺及其与中国陶瓷的关系

本文的主题是研究粉青沙器的化妆土工艺出现的历史背景,旨在探讨中韩陶瓷交流对粉青沙器制作的影响。在韩国陶瓷历史上,朝鲜时期(1392-1896)的粉青沙器是具有独特工艺特征的陶瓷样式,即在胎上用白化妆土粉妆,然后采用多样装饰技法,和磁州窑瓷器相似。关于朝鲜王朝制瓷业开始使用化妆土装饰技法的突然性和白瓷生产需求的背景,作者从中韩陶瓷交流史的角度,提出了两个论点:首先,高丽(918-1392)末朝鲜初期制瓷业衰退,在原料和工艺技术恶劣化的情况下,通过借鉴高丽时期已传入的中国磁州窑瓷器的化妆土工艺;应用于粉青沙器的生产。其次,中国陶瓷文化由青瓷转移到白地花纹的青花瓷器的发展趋势,直接影响到朝鲜制瓷业追求白瓷或白地瓷的状况,而在当时朝鲜制瓷业条件的限制下,只能以化妆土工艺表现白色地。这一现象也反映了当时中国先进陶瓷文化及陶瓷审美观念的变化。     

从峡江地区楚文化遗存看东周时期巴楚关系的变化

过去学术界认为楚文化西界止于巴东,巴楚交界于巫山。然近年来峡江地区所发掘出的楚文化遗存却显示楚人在战国中期已到达云阳、忠县等地,生动地再现了东周时期巴楚关系的变化。二者之间关系的变化,是由政治目的和经济利益决定的。     

辛亥革命中海外华侨民族国家认同的困境——以冯乃超为例的研究

论文通过对冯乃超个人、家族经历及其民族国家意识形成的分析,揭示了辛亥革命与华侨关系研究中为人所忽略的一面：辛亥革命并非对所有华侨而言都是一次为他们带来新的民族国家归属的革命,冯乃超的遭遇映射出清末民初政局中个体与国家间的纠葛,其中既有寻求民族国家认同的渴望,也有因不被祖国接受而自放异乡的无奈,实非理所当然的归属关系可以概括。冯乃超被异邦和故国同时放逐的记忆,演变为民族国家的身份认同困境,是促使他转向马克思主义,投身以超越民族国家界限为号召的无产阶级革命的重要心理动因。     

试论地方治理的特殊性——宋人对“蜀乱”的认识与辨析

"蜀人好乱"之说起源于南朝,在宋代尤其是北宋仍是社会各界的主流认识。但随着形势的发展,巴蜀社会稳定、地位不断提升,以蜀人为主的一部分士大夫从乱蜀者、蜀中及全国形势、治蜀政策等多个方面,极力批判蜀人好乱之说,为蜀人辩诬。明清以来,蜀人好乱之说更为流行,宋人的辨析无疑在巴蜀史上成为独特的现象,其深厚的历史及思想文化内涵值得人们反思。     

Integrating natural and cultural heritage: the advantage of feng shui landscape resources

Human activities interact with natural processes to produce landscapes. Cultural and natural phenomena sit side by side in the feng shui woods beside villages in the New Territories, but their continued existence is threatened by urbanisation. To highlight the value of these natural resources, three feng shui woods and villages located in the New Territories of Hong Kong were selected for investigation. The study examined their sociocultural, ecological and botanical characteristics. Investigations and interviews with local residents confirmed that the feng shui woods are: (1) regarded as cultural heritage because they bear testimony to a cultural tradition being revered by local people along the principles of geomancy; (2) an example of traditional human settlement that dates back several hundred years; and (3) characterised by historical continuity devoid of accelerated development. Similarly, they represent a natural heritage as they: (1) represent ongoing ecological processes in the evolution and development of terrestrial ecosystem communities; and (2) contain important and significant natural habitats that can be used for education, environmental awareness, conservation of biological diversity as well as serve as destinations for ecotourists and nature appreciation.     

The heritage practices in a Chinese historic neighbourhood: the manifestation of traditional Feng Shui in Langzhong,China

By describing different voices, practices, and understandings centred on Langzhong’s Feng Shui, this research explores a vernacular way of manifesting, practicing and valuing the past. The analysis shows that as a living heritage, Feng Shui still exists in Langzhong in both a physical and social sense. The study of Feng Shui demonstrates how a non-western discourse of narrating the historic urban form could be deployed in Chinese heritage practice to interweave the past and present. Through this study, a vernacular way of practicing and conceptualising heritage is established. Moreover, it is argued that Feng Shui as a locally meaningful heritage, which has spiritually enriched the historic neighbourhood, should be cherished and utilised for contemporary heritage conservation and cultural construction in China.     

风水——中国古代的聚落区位理论

风水是一种相地术,是中国古代一种选择居住环境的学问。风水起源于原始先民的定居活动,起源于古老的天人合一思想。风水学说有着丰富的内涵,融汇了古代哲学、科学、伦理学,美学、民俗学多方面的智慧,并与自然环境各要素间有着密切的关联。