Cultural Identity and the Canonization Of Music in Early China

This article shows that over the course of the Warring States period (479–221 BCE) authors began to organize and categorize music in a manner that helped define and reinforce their conceptions of themselves as a distinct cultural or ethnic group: variously referred to as the Huaxia, Zhuxia, and Zhou. By examining how Ruist (Confucian) authors articulated distinctions among various types of music, and by showing how such identifications denigrated nefarious forms not associated with the Zhou court and its culture, I show how authors endeavored in a process of musical canonization while also consolidating a sense of an ethno-cultural self. The fact that these writings distinguished among and evaluated musical types not primarily through a discussion of musical form or theory but via a morally-laden language rooted in the civilizing rhetoric of the day suggests that music was a primary site for formulating, expressing, and promoting cultural identity.     

中国史前玉文化板块论

中国史前玉器有着长达6000余年的历史,遍布东、北、西、南各地,组成相对独立发展的群体及其玉文化区域。其历经玉兵器、玉美器、玉神器以及早期“王室玉”等若干阶段的演进和积淀,为华夏文明的创造奠基了第一块坚实的基石。本文采纳地质学上的“板块”一词以概括说明史前玉文化的宏观性质及其微观特点,史前玉文化板块分为东夷玉文化板块、淮夷玉文化板块、古越玉文化板块等三大玉板块以及海岱玉文化东夷亚板块、陶寺玉文化华夏亚板块、石峁玉文化鬼国亚板块、齐家玉文化氐羌亚板块和石家河玉文化荆蛮亚板块等五个文化亚板块。它们按自身规律运动又互为碰撞、渗透、并存以至融合,终于走向其归宿,熔铸为统一的中华玉文化。     

黄土高原华夏之根

华夏文化深深地扎根于黄土高原.黄土高原,特别是它的东南缘,是创造和凝聚中华文明的重要舞台.     

千古文明开涿鹿——华夏创世之谜

本文通过地下发掘的实物与典籍记载相印证,探索华夏创世之谜。论文认同炎、黄二帝与蚩尤并列的华夏三祖地位,并指出：＂三祖＂地位的确立,其重要意义在于,不仅拨正了以往＂独尊炎黄＂的偏颇,又填补了历史传承的缺失。     

考古研究的园地 学术活动的摇篮——《华夏考古》出版百期纪念

《华夏考古》创刊于1987年,到2012年已走过25年的历程,2012年第2期为出版的第100期。本刊长期以来坚持集考古资料性和学术性为一体的传统,秉承百花齐放、百家争鸣的方针,成为国内外考古文物界发表研究成果的重要园地和学术活动的摇篮。