蔡襄《行书自书诗》卷后“匡山凷翁”题跋小考

故宫博物院藏《行书自书诗》卷是蔡襄行书代表作,卷后有历代题跋多则,其中款署为"匡山凷翁"的一跋,前人向对作者未有详论。本文通过此卷前后题跋以及相关文献记载,考证出此跋作者为明初人吴勤,因受当时的收藏者管讷的邀请而书此题跋。通过对"匡山凷翁"身份的揭示,可以更清晰地了解此卷在明初的流传轨迹,对此间书画鉴藏史的研究或有裨益。     

宣和御府印格式研究

本文将现代考古学“类型学”的方法,转用到印章学的研究之中,对所见宣和御府诸印逐一进行了样式分析与位置比较,指出,见于传世品上的宣和印,分别出自50方彼此各异的印章;并通过与《宣和书谱》、《宣和画谱》的对照,辨析出宣和真印、伪印;在此基础上,确认了每一种宣和印的“标准位置”以及宣和印的“常规组合”。还论及宣和印的钤盖原则、仿刻印与原印、宣和印的诸多称谓,以及宣和“五玺”、“六玺”、“七玺”与宣和装的关系等问题。     

Heeding the warnings: Deng Huaxi and Zheng Guanying’s Shengshi weiyan

ABSTRACT

This article establishes a link between Qing-dynasty official Deng Huaxi (1826–1916) and comprador Zheng Guanying’s (1842–1922) political treatise Shengshi weiyan (Warnings to a Prosperous Age). It suggests that Deng Huaxi’s reforms as provincial governor of Anhui and Guizhou were inspired by Shengshi weiyan. The work did not come to be applied in the 1898 Hundred Days Reform but saw at least partial success in the modernization of the two landlocked provinces. This interpretation supports the scholarly consensus that the geographical extent of the late Qing self-strengthening reforms was contingent on various persons and places and being far more focused on coastal provinces. It also suggests that the nature, pace, and scope of reforms lay at the discretion of governors-general and provincial governors, many of whom possessed few resources with which to implement them fully. The story of Deng Huaxi challenges a common idea about late Qing China: that meaningful reforms relied only on men with deep political connections to the central court and access to private fortunes. It also shows how effectively messages by Zheng Guanying and other theorists could reach local administrators and leaders and how, in provinces not so dominated by conservative literati elites, Western-style reforms garnered much appeal without too much resistance.     

Ukraine’s national integration before and after 2014. Shifting ‘East–West’ polarization line and strengthening political community

ABSTRACT

This article addresses the question of Ukraine’s societal polarization along the East-West line and the state of cohesion and endurance of its political community. In both political and academic discourses, Ukraine is often characterized as a country split between Western and Eastern regional and societal parts belonging to some wider geopolitical and cultural entities. Moreover, the recent upheavals in the life of the country – Euromaidan Revolution, illegal annexation of Crimea and Russian-Ukrainian war in Donbas – have actualized the allegations about Ukraine as a feeble state structure on the brink of disintegration and collapse. The findings in this study challenge both of these claims and it is argued that Ukraine is not a deeply divided or failed state. In practice, the East-West political polarization line is not clearly defined, but to the extent that it does surface in the political and electoral contests, this line has been moving from west to east since the early 1990s. The shifting of the polarization line implies that political and cultural identities in Ukraine are not fixed and, at the same time, reflects a strengthening cohesion of Ukraine’s political and cultural space. These findings are confirmed by the improved and ever-increasing convergence of Ukrainian society following the Euromaidan and Russian military aggression.