Abstracts

ABSTRACT

The celestial universe and the mode of action of YHWH are sometimes depicted by metallurgy. This figuration is generally understood as a picturesque representation devoid of theological significance, introduced only for describing the infinite powers of the god of Israel using the extreme physical conditions characterizing metallurgy. This explanation is however contested by: (i) the many allusions to metallurgy encountered in Biblical theology, (ii) the detailed mention, in the divine context, of all the stages of metal production: mining, ore roasting, smelting, metal purification and even of furnace re-melting, (iii) the representation of the firmament and the earth as two giant pieces of metal, (iv) the vision of the holy domain of YHWH as a giant celestial furnace. These features attest the existence of a substantial metallurgical component in Biblical theology. Furthermore, the strong bias towards copper metallurgy suggests that these representations were anchored in Bronze Age metallurgical traditions. It is concluded that Israelite theology encompasses an important metallurgical component inherited from the pre-Israelite cult of YHWH.     

The Material Nature of the Radiance of YHWH and its Theological Implications

Abstract

Kābôd-YHWH is a technical term designating the radiance of the god of Israel. Such a phenomenon is specifically identified in the Bible with three physical realities: volcanic lava, solar activity and molten metal. The antique representation of the sun as molten metal, and the volcanic symbolism of the furnace reveal that these three expressions of kābôd-YHWH are interrelated. Among them, it appears here that kābôd-YHWH refers first of all to molten metal. This introduces a fundamental difference between radiance, specifically related to YHWH through molten metal, and brilliance (and by extension glory, wealth, strength and vitality) of gods and mortals derived from properties of solid state metals. Beyond the status and powers of supreme deity conferred by this metallurgical radiance, identification of kābôd-YHWH as shapeless molten metal also clarifies the origin of one of the most singular characteristic of ancient Yahwism: the strict interdiction of figuration of the god.     

'With a strong hand and an outstretched arm' the meaning of the expression byd hzqh wbzrw' ntwyh

The expression ''with a strong hand and an outstretched arm'' is usually understood as being an expression of the power of God. There are various suggestions as to which aspect of his power is indicated: The power of inflicting plague and sickness or his power as a warrior - or whether the expression is used as a counterpart to Egyptian royal terminology. It is suggested here that the expression does refer to the power of inflicting plague and sickness, for the following reasons: ''With a strong hand and an outstretched arm'' is a parallelism between two collocations of words, ''strong hand'' and ''outstretched hand'' (''arm'' + the verb ''stretch out''). When the two collocations, both containing the word ''hand'', were made to form a parallelism, the element ''arm'' was the added to one of them to achieve variation between the units of the parallelism. The element ''arm'', which often has a military connotation, is then an extraneous component to the expression. The outcome of ''stretching out the hand'' in the Pentateuch and the historical books is miraculous events, some of these being a number of the plagues. The expression does not seem to have any military connotation in the account of the Exodus. A comparison with the literatures of other Semitic languages shows that in the ancient Near East not only ''the hand'' of a deity inflicting plague and sickness can be found, but actually ''a strong hand''. In most of the occurrences of the expression in the Pentateuch apparently the entire experience of Israel in Egypt is signified. Only in Exod 3,19; 6,1; (where we cannot be sure whether the arm belongs to YHWH or to Pharaoh) and 6,6 the expression is connected to specific traditions in the account of the Exodus, and these are exactly the plague traditions.     

渝川黔滇“回车马神”风俗研究

“回车马神”是中国南方许多地区许多民族至今仍有的民间婚俗环节,不能简单地全盘肯定或否定,当以辩证眼光对待之,其巫术唱词的诗文价值颇大。本文结合田野调查材料,钩沉史志文献,对渝川黔滇“回车马神”风俗的起源、演变、内涵和程序等进行探讨,对方志文献整理、移风易俗等都有参考借鉴价值。     

简论商代的社

依据甲骨卜辞和考古资料,我国目前最早的社祭遗存属于商代二里岗上层时期.在甲骨卜辞中,商代的社与战争有着密切的关系.一般说来,当时的社有不同的种类,有木质或石质的主.社神的地位要低于祖先神的地位,其祭品主要是人牲、牺牲、酒等,但还没有像后世那样明显的等级差别.     

巫-玉-神泛论

本文通过对玉、巫、神的内涵分析,探索玉、巫、神的互动以推动史前社会的发展.巫为核心,玉为巫觋事神的神物,神是血缘与地缘的超自然力量.到了文明曙光期,巫觋地位下降,终于成为神职人员.通古斯语系萨满祭神与玉无关,因时代、族别不同,也不能用萨满对应巫觋.     

都城隍庙考

明清时期的都城隍庙在建置中呈现出复杂局面。明代祀典中之京都城隍庙是文献资料中所见最早的都城隍庙,除此之外,几乎在不同层级的聚落都存在都城隍庙。这种局面的出现主要源于都城隍神自身的演化,其一,京都城隍神由都城隍神或称天下都城隍神发展而来,是后者的一种官方形态,都城隍神与京都无必然联系;其二,都城隍神的管辖范围不再固定为"天下",它可以是省,也可以是更小的地域。     

春秋天信仰的特点

春秋帝崇拜式微,天信仰几乎取代西周天帝信仰。天作为春秋至上神,其突出的特点是权能的广泛性、意志的权威性和赏罚的道德性。春秋天命和天道是天的意志的固定表达方式,从“天”的意志到“天命”到“天道”,是一个从天神的意志到冥冥之中的命运到社会自然法则的转化。在这个转变过程中,天的人格色彩愈趋淡化。春秋天信仰对于现存社会秩序的作用犹如双刃剑,既维护又破坏,具有道德约束、心理平衡和精神支撵功能以及认识功能。春秋人不求在天信仰的精神世界中获得永恒,而是理性地寻求对现实的信念、生活态度和生存价值。     

增福财神的信仰历史与当下现状

增福财神又称增福神,最早出现在河北、山东等地。元代碑刻记载了增福神的传说和信仰,称该神在五代、两宋得到过朝廷的敕封。元杂剧塑造了增福神的形象,描写了当时增福神信仰的流行情况。增福神的上位神是东岳大帝,因而他主掌地狱各司,也掌管人间衣禄食禄、贵贱高下,故又被称作福禄之神。明清时期增福财神信仰已流传到华北各省,多地志书都曾记载过增福财神庙会。清代以后,随着五显、赵公明、关公、比干等财神的兴起,增福财神逐渐被取代,只是信仰并未消失。河北曲周县相传是增福财神李诡祖生前任职、死后葬身的地方,信仰氛围一向浓厚,今天仍保留了较多的民间传统色彩。     

古玉人兽合体造型研考

周代人兽合体造型玉器,加进了人的参与和主导,这就突出体现了当时社会观念形态中人格意识的进一步提升,显示了人兽结合造型的艺术成果.在西周时,龙神已被人格化,并被尊为人间与神界相依相合、互相沟通的神.玉雨师像即是龙神文化品格被提升的产物.