“玄奘画像”解读——特别关注其密教图像元素

西安兴教寺所存玄奘石刻像与日本现存无名氏画玄奘像,所携带的历史信息超出了图像本身。作者认为,这一源于早期行脚僧图像的出现,是由于玄奘西行求法的成功,刺激了社会民众对行脚僧的认同,加之西来传法僧的大量涌现,于是在唐末、尤其是在宋代,出现了一批行脚僧图像,并由初时的胡僧梵相,变为汉僧模样,进而附会到玄奘的图像创作上。而在日本所存著名的"玄奘画像",事实上可能是一个具密教性质的僧人图像。作者试图通过有关这一图像的文献解读,全面分析该图像所包含的历史信息。     

Announcing: The Janice Monk Lecture in Feminist Geography

In this brief announcement we have the pleasure of introducing the inaugural Janice Monk Lecture in Feminist Geography. The lecture will appear annually in the pages of Gender, Place and Culture. The first lecture, printed here, is by Ruth Fincher of the University of Melbourne. Her article is preceded by four papers that pay tribute to Jan Monk's academic achievements and her dedication to encouraging and guiding the careers of emerging scholars around the world.     

Service as a Subversive Activity: On the centrality of service to an academic career

In the normative view of academic life, service is presented as an unfortunate inconvenience, a dull distraction from the real work of the academy, which is taken to be teaching and research. Service is also presented to the novice academic as an activity that is completely unconnected with the real work of teaching and research. Jan Monk has made service central to her academic career. A brief overview of her service activities shows how closely intertwined they have been with her scholarship and teaching. Moreover, I believe that Jan's service work demonstrates not only how service is central to a vibrant, meaningful, and rich academic life; it is also an essential vehicle for creating change within, as well as outside of, the academy.     

Hidden Histories in Geography: A politics of inclusion and participation

Many geographers benefit from the support of unheralded teachers whose inspiration leaves important marks on their thinking. This paper considers the legacy of Jan Monk's professional contribution in terms of her fostering of wider structures that support the development of a disciplinary capacity for and commitment to good educational practice, her work in researching and bringing to light the hidden disciplinary roles of women in the development of the discipline, particularly in the USA, and the place and significance of her early work in Australia at the intersection of geography and indigenous studies. It concludes that her insistence on the importance of place and context, her attention to people's own sense of place in shaping their relations with each other and their wider worlds, continues to provide a powerful starting point for benchmarking our work as teachers, mentors and researchers.     

僧史上的神僧、颠僧及济公的传说

中国僧史传内几乎每位名僧多附有灵异故事,如能予卜凶吉、咒敌退兵、治愈顽症等。尚有另一类僧人其共同特点是玩世不恭、举止颠狂,能吟诗作画、行为怪异且蔑视戒律,嗜酒食肉,被人称为颠僧、狂僧。这些附有神异故事和行为怪诞的僧人被统称为神僧。他们的故事在民间广为流传,影响深远,至今不衰。     

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。     

牧溪《布袋和尚》修补用纸的选择及匹配度分析

东京美术俱乐部藏南宋牧溪《布袋和尚》,表面絮化严重且有断裂、霉斑,画面局部缺失,裱褙脱落,作品珍稀。本工作首先从古代书画用纸类别和纸张特性等方面探讨了修补该画作纸品的选择标准,运用傅里叶红外光谱、pH测量仪、显微镜等现代设备分析了《布袋和尚》原作纸张的理化特性,并从纤维成分、理化性能等方面对制备的红星宣纸、民国宣纸、麻纸、清代宣纸、现代桑皮纸这5种修补用纸进行对比分析。分析表明,现代桑皮纸与《布袋和尚》原作适配度最好,因此选用现代桑皮纸对原作品进行修复。该修补用纸制备与作品修复为后续保护修复提供了科学依据与参考。     

《〈兼名苑〉辑注》订补

<兼名苑>是唐代僧人释远年编纂的类书.该书汇集事物别名异称,对于名物训诂以及语源学研究都有很高的参考价值,但成书不久便遗佚不存,因此国内各种书目文献对<兼名苑>以及作者鲜有记载.<兼名苑>在中日文化交流中被"遣唐使"带回日本,并受到很高的重视.日籍<本草和名>、<倭名类聚抄>以及<医心方>曾多次引用<兼名苑>,之后<兼名苑>在日本也散佚流失了.近年有学者钩沉中日典籍中<兼名苑>佚文,整理为<〈兼名苑〉辑注>一书.本文对书中的注释以及佚文作了补充.     

“大错和尚”钱邦芑

钱邦芑是明末清初的诗文家和学者,曾在永历王朝做官,隐居在贵州余庆县的蒲村,在这里创建他山景区,筑堤为湖。据守贵阳的“秦王”孙可望逼他出山任职,他祝发为僧,自号大错和尚。后流寓云南和湖湘。生平坎坷,著述颇丰,成为一代高僧。     

日本早期诗僧的文化解读

奈良平安时期的日本诗僧包括“披着袈裟”的出家僧侣和“不披袈裟”的居士或准居士诗人。日本诗僧群体的产生不仅与唐代盛行的诗僧文化密切相关,还受到佛经中诗偈的潜在熏陶。佛教被提升到日本国家宗教的高度后,日本诗僧亦表现出亦佛亦俗、亦僧亦士的双重性人格。