宝丰清凉寺汝窑遗址的新发现

汝窑御用瓷自１９８７年在河南省宝丰县清凉寺窑址发现以来,曾引起国内外陶瓷界的关注。河南省文物考古研究所从１９８７至１９９８年,先后在第 Ⅰ、Ⅱ、Ⅲ区进行了四次较大规模的发掘,每次都有较大的收获,但始终未能找到天青釉汝瓷烧造区和完整的地层堆积。１９９９年根据清凉寺村民提供的线索,河南省文物考古研究所将工作重点由第Ｉ、Ⅱ、Ⅲ区转人第ＩＶ区,在居民住宅外便道上进行试掘。清理出厚达０.１米的天青釉汝瓷堆积层,收获天青釉汝瓷一千余片,同出的还有不同于汝民窑的匣钵、垫饼、试烧插片（火照）等窑具和大型建筑构件,…     

《山东考古录》与《日知录》之关系考述

关于《山东考古录》和《日知录》的关系 ,《四库全书总目提要》及《续山东考古录》刘椿序皆认为二者了无相关之处。但通过对《山东考古录》和《日知录》材料的综合分析 ,可以认定《日知录》吸收了《山东考古录》中的许多材料 ,《山东考古录》中的若干内容可视为《日知录》初稿中的一部分。     

Inheritance relationship between Zhanggongxiang kiln celadon and Ru Guan celadon: Comments on the rationality of Raman Ip value evaluating firing temperature

The development of Chinese ceramics culminated during the Song dynasty. At this time, exquisite celadon works emerged, such as Ru Guan celadon and Southern Song dynasty official kiln celadon, which exhibited the glory of their era. Since the excavation of Zhanggongxiang kiln celadon in Ruzhou city, Henan province, China, it has been attracting widespread scholarly attention at home and abroad. Most scholars have suggested that Zhanggongxiang is the official kiln of the Northern Song dynasty. In this paper, taking the celadon unearthed from the Zhanggongxiang kiln as a sample, the combination of laser Raman spectrum and thermal expansion methods is used to study the inheritance relationship between Zhanggongxiang celadon and Ru Guan celadon in the firing process. Meanwhile, the rationality of using Raman I_p value to evaluate the firing temperature of ceramics is reviewed. The main conclusions are as follows. First, the firing temperature of Zhanggongxiang celadon with various glaze colours is quite different, whereas the firing temperature of the same glaze colour is similar, thereby inheriting the firing technology of Ru Guan porcelain. Second, the I_p value of glaze cannot evaluate the firing temperature of porcelain with similar firing temperature. The I_p value corresponds to a range, within which it does not fully conform to the rule that the larger the I_p value, the higher the firing temperature. The I_p value is also associated with the formulation in addition to firing temperature. It is applicable to evaluating porcelains with a similar formulation but a large temperature difference.     

A Study of the Techniques Used to Make Laohudong Guan Ware in China in the Southern Song Dynasty

Through a combination of analysis and synthesis of Laohudong Guan ware shards from Hangzhou City in southern China, some new hypotheses concerning Guan ware manufacture can be proposed. These suggest that the complex microstructures seen in Guan ware glazes, and which contribute significantly to their jade‐like qualities, may owe much to layers of fine bubbles trapped during the glazing process. It is also proposed that the multi‐layer glazing methods used at the Guan ware kilns at Hangzhou may have helped initially to disguise the relatively coarse and ferruginous clays used for Guan ware manufacture. Once established, the layered glazing technique was used for its own sake—eventually yielding wares that could comprise more glaze than clay. Raw materials and firing temperatures were also explored for this study, and these suggest the use of porcelain‐stone/wood ash mixtures for glaze‐making, with 20–30% calcareous wood ash being the usual amounts. The average heat‐work for the glaze firing seems to have been equivalent to Orton Cone 7, giving a typical finishing temperature of ～1215°C. A single biscuit firing and a single glaze firing seem likely for most Laohudong Guan wares. Studies of the losses that occur in the preparation of calcareous wood ashes suggest that very large quantities of botanic material must have been burned to provide ash for glaze‐making at the Laohudong kiln. From the environmental perspective, a combination of thick glazes and heavy wood‐ash usage would have placed great demands on local fuel supplies.     

试论《儒藏》“论部”的分类方法

《儒藏》是儒学文献的大型丛书,为构建儒学文献的著录体系,本文历考古今目录分类方法,立足自创的《儒藏》“三藏二十四目”分类体系,贯通“四部”,归本儒学,提出应在《儒藏》“论部”按“儒家”、“性理”、“礼教”、“政治”、“杂论”五类来著录儒家理论文献。     

从村童到学术大师:韩儒林评传

20世纪的中国史学有两大流派,即实证主义史学和马克思主义史学。韩儒林先生是一位掌握实证史学方法、努力用马克思主义观点解释历史现象的史学家。他在元史和边疆史地研究方面取得了丰硕成就,成为一代学术大师。     

试析汝窑的性质及相关问题

汝窑自1986年在宝丰清凉寺发现以来,经过八次考古发掘终于取得了中国陶瓷史上的重大突破,找到并确定了汝官窑瓷器的烧造区.本文根据考古发掘资料和文献史料记载,结合宝丰的历史沿革,认为汝窑的性质是官窑,其烧制宫廷用瓷时间约在宋哲宗元祐元年至徽宗宣和末年.张公巷窑址应为金元时期的仿汝窑址.     

宋代汝瓷研究

本文报导了从河南省平顶山清凉寺汝窟遗址出土的官窑和民窑青瓷样品的测试结果。给出用 ＰＩＸＥ方法测得的胎、釉的化学组成和微量元素含量。实验结果：官汝和民汝样品胎的化学组成基本一 致;而釉的化学组成明显不同。本文也给出用多元统计方法分析南方青瓷（龙泉窟、上林湖青瓷）和北 方青瓷（汝官窑、汝民窑、钧窑、耀州窑、段店窑）的化学组成和微量元素含量在聚类分析中的结果。     

北魏茹小策合邑一百人造像碑补考

本文记述了作者到西安碑林目睹此碑之后的进一步研究。认为碑上刻有老子、阿胡拉·马兹达和佛三圣像,突出了祭拜圣火、礼赞胡摩(haoma)等图像,与题记讲的设盦敬祆相互吻合。     

Who Said, “Confucius Composed the Chunqiu”? ——The Genealogy of the “Chunqiu” Canon in the Pre-Han and Han Periods

It is often said that “Confucius composed the Chunqiu 春秋 (The Spring and Autumn Annals) to convey the way of the king.” Scholars have long noticed that before the founding of and during the Han Dynasty the phrase that served as the title of the allegedly Confucian work, “Chunqiu,” was also often used to designate history in general. In what intellectual and textual contexts did the term evolve from something general into a specific concept associated with Confucius? What works or ideas did pre-Han and Han scholars have in mind when discussing Confucius’s Chunqiu and the broader “Chunqiu” canon?1 Exploring these questions, the study that follows begins by systematically documenting the occurrences of this term in pre-Han and Han texts. It demonstrates that while Mencius was the first person to associate Confucius’s teachings with the Chunqiu, his statement was a solitary and surprising voice in the pre-Han era. Not until the Western Han Dynasty was Confucius widely heralded as the creator of the Chunqiu. But few scholars are aware that Western Han scholars never strictly distinguished the laconic Chunqiu from the detailed historical knowledge preserved in the Gongyang 公羊, Guliang 谷梁, and Zuo 左 commentaries. Furthermore, as the Chunqiu gained canonical status, the phrase still served as a generic term, referring to various historical narratives. Zhang Xuecheng 章学诚 is famous for claiming that “The Six Classics are all history,” and I shall show that in the minds of the people of the Han Dynasty, all historical works were classics.