Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370003
汪一舟 汪一舟
明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。 "During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings.
明代中国绘画传至日本，成为江户时代重要的创作素材。江户早期狩野派画家狩野探幽经多年搜集和摹写，绘制了大量以中国古画为主的缩小摹本，称作「探幽缩图」。用于绘画素材、鉴定笔记及门派传承等，影响深远。中国女性是其中重要题材。基于皆川三知关于「缩图」中多于107幅「唐美人」图的统计，本文从中日跨文化角度探讨「缩图」中国仕女图的摹写方法、来源和运用，并试论日本江户时代对中国女性题材绘画及其作伪的受容。发现「缩图」多擅仕女画的明代苏州「吴门」画家唐寅、仇英款，也有不长于仕女题材的江南名家如元代赵孟ð«¯、赵雍，指出「苏州片」为其重要再以耕织图、西王母图为案例，探讨了跨文化背景下中国女性图像杂糅及重新诠释问题。 "During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings.
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Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370004
朴英敏 朴英敏, 林侑毅 林侑毅
本研究以朝鮮時代樂歌舞表演的主要演出者，同時也熟悉繪畫創作及鑑賞的妓生為研究對象，旨在闡明其繪畫特徵、繪畫知識的水準，並客觀將其置於朝鮮時代藝術史上。為達此研究目標，本文首先分析了竹香《花鳥花卉草蟲圖》13帖（國立中央博物館藏）的畫題。竹香《花鳥花卉草蟲圖》13帖的畫題，大多摘取自中國花鳥畫大家或著名詩人的詩句。竹香熟知中國書籍，能自由運用中國題畫詩於自身畫作中，又懂得分析自身畫作與中國題畫詩的關係，靈活摘取詩句於畫題中。竹香摘取中國詩人或畫家的詩，代表已具有一定程度的繪畫知識水準，能將之運用於自身畫作的畫題中。 竹香何以摘取中國詩人的題畫詩或詩句為畫題？竹香為強調自己是喜歡寫生的畫家，特意選用錢選的詩。竹香引用中國題畵詩，是為了表示自己從小在平壤即是喜歡寫生的畫家，也是水準相當高的畫家。其原因在於希望自己的畫作，被當代社會認可為是追求文人畫風的作品。此外，竹香也透過畫題表現官妓的生命。妓生求愛而不可得，終遭背棄的生命哀愁，亦發生在竹香身上。此外，她也表達了以官妓身分出席宴會，從中感受到的空虛與寂寥。儘管官妓出身，身分低賤，竹香仍想表現個人心性的孤高。因此對竹香而言，畫題是表達自己身為作家的生命、身為妓生的生命最適合的媒介 This study explores what characteristics paintings by female entertainers(妓生, Kisaeng) who not only was mainly charge of singing and dancing performances but skilled at paintings and appreciation of them in Chosŏn Korea have and how abreast of them they are. To this end, this study shed lights on Poem describing the painting(畫題) in an 13-page long album with flowers, birds, plant and insects(花鳥花卉草蟲圖) at National museum of Korea. This Haojae(畫題) was a good medium for Chukhyang(竹香) to show her life as a painter and kisaeng.
本研究以朝鲜时代乐歌舞表演的主要演出者，同时也熟悉绘画创作及鉴赏的妓生为研究对象，旨在阐明其绘画特征、绘画知识的水准，并客观将其置于朝鲜时代艺术史上。为达此研究目标，本文首先分析了竹香《花鸟花卉草虫图》13帖（国立中央博物馆藏）的画题。竹香《花鸟花卉草虫图》13帖的画题，大多摘取自中国花鸟画大家或著名诗人的诗句。竹香熟知中国书籍，能自由运用中国题画诗于自身画作中，又懂得分析自身画作与中国题画诗的关系，灵活摘取诗句于画题中。竹香摘取中国诗人或画家的诗，代表已具有一定程度的绘画知识水准，能将之运用于自身画作的画题中。 竹香何以摘取中国诗人的题画诗或诗句为画题？竹香为强调自己是喜欢写生的画家，特意选用钱选的诗。竹香引用中国题画诗，是为了表示自己从小在平壤即是喜欢写生的画家，也是水准相当高的画家。其原因在于希望自己的画作，被当代社会认可为是追求文人画风的作品。此外，竹香也透过画题表现官妓的生命。妓生求爱而不可得，终遭背弃的生命哀愁，亦发生在竹香身上。此外，她也表达了以官妓身分出席宴会，从中感受到的空虚与寂寥。尽管官妓出身，身分低贱，竹香仍想表现个人心性的孤高。因此对竹香而言，画题是表达自己身为作家的生命、身为妓生的生命最适合的媒介 This study explores what characteristics paintings by female entertainers(妓生, Kisaeng) who not only was mainly charge of singing and dancing performances but skilled at paintings and appreciation of them in Chosŏn Korea have and how abreast of them they are. To this end, this study shed lights on Poem describing the painting(画题) in an 13-page long album with flowers, birds, plant and insects(花鸟花卉草虫图) at National museum of Korea. This Haojae(画题) was a good medium for Chukhyang(竹香) to show her life as a painter and kisaeng.
{"title":"竹香《花鳥花卉草蟲圖帖》及妓生的繪畫知識","authors":"朴英敏 朴英敏, 林侑毅 林侑毅","doi":"10.53106/2306036020210600370004","DOIUrl":"https://doi.org/10.53106/2306036020210600370004","url":null,"abstract":"\u0000 本研究以朝鮮時代樂歌舞表演的主要演出者，同時也熟悉繪畫創作及鑑賞的妓生為研究對象，旨在闡明其繪畫特徵、繪畫知識的水準，並客觀將其置於朝鮮時代藝術史上。為達此研究目標，本文首先分析了竹香《花鳥花卉草蟲圖》13帖（國立中央博物館藏）的畫題。竹香《花鳥花卉草蟲圖》13帖的畫題，大多摘取自中國花鳥畫大家或著名詩人的詩句。竹香熟知中國書籍，能自由運用中國題畫詩於自身畫作中，又懂得分析自身畫作與中國題畫詩的關係，靈活摘取詩句於畫題中。竹香摘取中國詩人或畫家的詩，代表已具有一定程度的繪畫知識水準，能將之運用於自身畫作的畫題中。\u0000 竹香何以摘取中國詩人的題畫詩或詩句為畫題？竹香為強調自己是喜歡寫生的畫家，特意選用錢選的詩。竹香引用中國題畵詩，是為了表示自己從小在平壤即是喜歡寫生的畫家，也是水準相當高的畫家。其原因在於希望自己的畫作，被當代社會認可為是追求文人畫風的作品。此外，竹香也透過畫題表現官妓的生命。妓生求愛而不可得，終遭背棄的生命哀愁，亦發生在竹香身上。此外，她也表達了以官妓身分出席宴會，從中感受到的空虛與寂寥。儘管官妓出身，身分低賤，竹香仍想表現個人心性的孤高。因此對竹香而言，畫題是表達自己身為作家的生命、身為妓生的生命最適合的媒介\u0000 This study explores what characteristics paintings by female entertainers(妓生, Kisaeng) who not only was mainly charge of singing and dancing performances but skilled at paintings and appreciation of them in Chosŏn Korea have and how abreast of them they are. To this end, this study shed lights on Poem describing the painting(畫題) in an 13-page long album with flowers, birds, plant and insects(花鳥花卉草蟲圖) at National museum of Korea. This Haojae(畫題) was a good medium for Chukhyang(竹香) to show her life as a painter and kisaeng. \u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130918747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370008
潘君茂 潘君茂
《莊子．人間世》述及「就不欲入，和不欲出」一段，俱備「倫理學」的探討價值，相較於儒家的倫理觀，《莊子》於人間秩序的行為依據乃根據於其形上本體的和諧意涵，而非自經驗範疇制定一套名言體制而為人所把握，換言之，自禮樂制度的反省中，《莊子》於兩難視域中另立一套價值依據，意即藉由兩行的「為一」思想而消彌彼我成心立場，進而達致物我相諧，共成一天的存在理境。 In the treatise Renjianshi, Zhuangzi introduced the passage ""jiu bu-yu ru, he bu-yu chu"" (while seeking to keep near to him, do not enter into his pursuits; while cultivating a harmony of mind with him, do not show how superior you are to him) that touches upon a question interesting to examine from an ethics perspective. Compared to the general Confucianist point of view, the basis of action in the human domain as expounded in the treatise is based on metaphysical-ontological harmony and not empirically determined by a system of nominal designations subject to artificial manipulation. In other words, the treatise seems to be navigating a conundrum by creating a reflectionist value system that is separate from but also responding to the ritual-musical order. The reflectionist notion can be described as entrenched in the ""wei-yi"" (being one) concept embodied in the ""liang-hang"" (parallel ways) approach, which leads to eradication of any self-other binaries and achieves object-subject harmony. The state of being can then be understood as gong-cheng-yi-tian (joined into one heaven).
《庄子．人间世》述及「就不欲入，和不欲出」一段，俱备「伦理学」的探讨价值，相较于儒家的伦理观，《庄子》于人间秩序的行为依据乃根据于其形上本体的和谐意涵，而非自经验范畴制定一套名言体制而为人所把握，换言之，自礼乐制度的反省中，《庄子》于两难视域中另立一套价值依据，意即借由两行的「为一」思想而消弥彼我成心立场，进而达致物我相谐，共成一天的存在理境。 In the treatise Renjianshi, Zhuangzi introduced the passage ""jiu bu-yu ru, he bu-yu chu"" (while seeking to keep near to him, do not enter into his pursuits; while cultivating a harmony of mind with him, do not show how superior you are to him) that touches upon a question interesting to examine from an ethics perspective. Compared to the general Confucianist point of view, the basis of action in the human domain as expounded in the treatise is based on metaphysical-ontological harmony and not empirically determined by a system of nominal designations subject to artificial manipulation. In other words, the treatise seems to be navigating a conundrum by creating a reflectionist value system that is separate from but also responding to the ritual-musical order. The reflectionist notion can be described as entrenched in the ""wei-yi"" (being one) concept embodied in the ""liang-hang"" (parallel ways) approach, which leads to eradication of any self-other binaries and achieves object-subject harmony. The state of being can then be understood as gong-cheng-yi-tian (joined into one heaven).
{"title":"就不欲入，和不欲出：《莊子．人間世》倫理觀及〈齊物論〉形上依據","authors":"潘君茂 潘君茂","doi":"10.53106/2306036020210600370008","DOIUrl":"https://doi.org/10.53106/2306036020210600370008","url":null,"abstract":"\u0000 《莊子．人間世》述及「就不欲入，和不欲出」一段，俱備「倫理學」的探討價值，相較於儒家的倫理觀，《莊子》於人間秩序的行為依據乃根據於其形上本體的和諧意涵，而非自經驗範疇制定一套名言體制而為人所把握，換言之，自禮樂制度的反省中，《莊子》於兩難視域中另立一套價值依據，意即藉由兩行的「為一」思想而消彌彼我成心立場，進而達致物我相諧，共成一天的存在理境。\u0000 In the treatise Renjianshi, Zhuangzi introduced the passage \"\"jiu bu-yu ru, he bu-yu chu\"\" (while seeking to keep near to him, do not enter into his pursuits; while cultivating a harmony of mind with him, do not show how superior you are to him) that touches upon a question interesting to examine from an ethics perspective. Compared to the general Confucianist point of view, the basis of action in the human domain as expounded in the treatise is based on metaphysical-ontological harmony and not empirically determined by a system of nominal designations subject to artificial manipulation. In other words, the treatise seems to be navigating a conundrum by creating a reflectionist value system that is separate from but also responding to the ritual-musical order. The reflectionist notion can be described as entrenched in the \"\"wei-yi\"\" (being one) concept embodied in the \"\"liang-hang\"\" (parallel ways) approach, which leads to eradication of any self-other binaries and achieves object-subject harmony. The state of being can then be understood as gong-cheng-yi-tian (joined into one heaven).\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115868408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gao Wen Jyu of southern opera has been disappeared and present versions include Zhen Zhu Ji (Yi Yang tune), Gao Wen Jyu of Southern Pipes (Quan tune), Gao Wen Jyu of Pu Xian (Hsin Hua tune) and Revival After Death of Shui Yun Pavilion (Qing Yang tune). Among others, Zhen Zhu Ji is the most influential one. The plots such as “Window Meeting” and “Zhen Zhu Mi Lan” are not only the selected Zhe Zi operas for the later generations, but also the adapted texts of local operas. Main plots of “story of Gao Wen Jyu” are below: “Zhen Zhu Mi Lan”, “Revival After Death to Appeal for Justice” and “Master Pao’s Judgment”. Zhen Zhu Ji and “version of Pu Xian” include “Zhen Zhu Mi Lan” and “Master Pag’s Judgment”. “Version of revival after death” includes “Revival After Death of Yu Chen” and “Master Pao’s Judgment”. “Version of Southern Pipes” does not include the above. Hence, it shows the uniqueness of “version of Southern Pipes” in the evolution of “story of Gao Wen Jyu”. Varieties of plots result in the richness of “story of Gao Wen Jyu”. The process of spread reveals flexibility and regionality of local common systematic tunes and varieties of operas.
This study will treat four versions of Gao Wen Jyu as the subjects to significantly compare and analyze the original stories and difference and similarity of related work. First, it explores present versions to recognize the evolution of the story “Gao Wen Jyu”; secondly, it precisely compares “plots” and “singing and talking” of the versions to analyze the inheritance and innovation of “story of Gao Wen Jyu” in different common systematic tunes and varieties of Chinese operas. It, on the one hand, clarifies the relationship and origin of different versions of “Gao Wen Jyu” and, on the other hand, probes into cultural characteristics of “time” and “region” of operas; finally, it attmpets to reconstruct the positions and values of common systematic tunes in different regions in the evolution process of “Gao Wen Jyu”.
「高文举故事」始自形成，便以多元样貌流播于各地声腔，依据本文所较析的四个版本，彼此间存在著复杂关系，或有独立发展者，如南管戏《高文举》，或有属古本系统者，如《水云亭还魂记》，或有保留南戏原貌者莆仙戏《高文举》，乃至于集大成者「文林阁本」《高文举珍珠记》。南戏《高文举》已亡佚，其中以《高文举珍珠记》之影响最为深远。「高文举故事」主要情节有三：「珍珠米糷」、「还魂诉冤」、「包拯断案」。在「文林阁本」与「莆仙本」皆有「珍珠米糷」、「龙图断案」，而「还魂本」有「玉真还魂」、「龙图断案」，至于「南管本」则一概具无，可知「南管本」在高文举故事流变过程中之独特性。本文主要针对各版本间之「关目情节」、「曲文宾白」等详实比勘，剖析「高文举」在不同声腔剧种间之承继与创新，并试图重构各地声腔在「高文举」演化过程中之地位与价值。 Gao Wen Jyu of southern opera has been disappeared and present versions include Zhen Zhu Ji (Yi Yang tune), Gao Wen Jyu of Southern Pipes (Quan tune), Gao Wen Jyu of Pu Xian (Hsin Hua tune) and Revival After Death of Shui Yun Pavilion (Qing Yang tune). Among others, Zhen Zhu Ji is the most influential one. The plots such as “Window Meeting” and “Zhen Zhu Mi Lan” are not only the selected Zhe Zi operas for the later generations, but also the adapted texts of local operas. Main plots of “story of Gao Wen Jyu” are below: “Zhen Zhu Mi Lan”, “Revival After Death to Appeal for Justice” and “Master Pao’s Judgment”. Zhen Zhu Ji and “version of Pu Xian” include “Zhen Zhu Mi Lan” and “Master Pag’s Judgment”. “Version of revival after death” includes “Revival After Death of Yu Chen” and “Master Pao’s Judgment”. “Version of Southern Pipes” does not include the above. Hence, it shows the uniqueness of “version of Southern Pipes” in the evolution of “story of Gao Wen Jyu”. Varieties of plots result in the richness of “story of Gao Wen Jyu”. The process of spread reveals flexibility and regionality of local common systematic tunes and varieties of operas. This study will treat four versions of Gao Wen Jyu as the subjects to significantly compare and analyze the original stories and difference and similarity of related work. First, it explores present versions to recognize the evolution of the story “Gao Wen Jyu”; secondly, it precisely compares “plots” and “singing and talking” of the versions to analyze the inheritance and innovation of “story of Gao Wen Jyu” in different common systematic tunes and varieties of Chinese operas. It, on the one hand, clarifies the relationship and origin of different versions of “Gao Wen Jyu” and, on the other hand, probes into cultural characteristics of “time” and “region” of operas; finally, it attmpets to reconstruct the positions and values of common systematic tunes in different regions in the evolution process of “Gao Wen Jyu”.
{"title":"《高文舉》版本考述","authors":"柯香君 柯香君","doi":"10.53106/2306036020210600370010","DOIUrl":"https://doi.org/10.53106/2306036020210600370010","url":null,"abstract":"\u0000 <p>「高文舉故事」始自形成，便以多元樣貌流播於各地聲腔，依據本文所較析的四個版本，彼此間存在著複雜關係，或有獨立發展者，如南管戲《高文舉》，或有屬古本系統者，如《水雲亭還魂記》，或有保留南戲原貌者莆仙戲《高文舉》，乃至於集大成者「文林閣本」《高文舉珍珠記》。南戲《高文舉》已亡佚，其中以《高文舉珍珠記》之影響最為深遠。「高文舉故事」主要情節有三：「珍珠米糷」、「還魂訴冤」、「包拯斷案」。在「文林閣本」與「莆仙本」皆有「珍珠米糷」、「龍圖斷案」，而「還魂本」有「玉真還魂」、「龍圖斷案」，至於「南管本」則一概具無，可知「南管本」在高文舉故事流變過程中之獨特性。本文主要針對各版本間之「關目情節」、「曲文賓白」等詳實比勘，剖析「高文舉」在不同聲腔劇種間之承繼與創新，並試圖重構各地聲腔在「高文舉」演化過程中之地位與價值。</p>\u0000<p> </p><p>Gao Wen Jyu of southern opera has been disappeared and present versions include Zhen Zhu Ji (Yi Yang tune), Gao Wen Jyu of Southern Pipes (Quan tune), Gao Wen Jyu of Pu Xian (Hsin Hua tune) and Revival After Death of Shui Yun Pavilion (Qing Yang tune). Among others, Zhen Zhu Ji is the most influential one. The plots such as “Window Meeting” and “Zhen Zhu Mi Lan” are not only the selected Zhe Zi operas for the later generations, but also the adapted texts of local operas. Main plots of “story of Gao Wen Jyu” are below: “Zhen Zhu Mi Lan”, “Revival After Death to Appeal for Justice” and “Master Pao’s Judgment”. Zhen Zhu Ji and “version of Pu Xian” include “Zhen Zhu Mi Lan” and “Master Pag’s Judgment”. “Version of revival after death” includes “Revival After Death of Yu Chen” and “Master Pao’s Judgment”. “Version of Southern Pipes” does not include the above. Hence, it shows the uniqueness of “version of Southern Pipes” in the evolution of “story of Gao Wen Jyu”. Varieties of plots result in the richness of “story of Gao Wen Jyu”. The process of spread reveals flexibility and regionality of local common systematic tunes and varieties of operas. </p>\u0000<p> This study will treat four versions of Gao Wen Jyu as the subjects to significantly compare and analyze the original stories and difference and similarity of related work. First, it explores present versions to recognize the evolution of the story “Gao Wen Jyu”; secondly, it precisely compares “plots” and “singing and talking” of the versions to analyze the inheritance and innovation of “story of Gao Wen Jyu” in different common systematic tunes and varieties of Chinese operas. It, on the one hand, clarifies the relationship and origin of different versions of “Gao Wen Jyu” and, on the other hand, probes into cultural characteristics of “time” and “region” of operas; finally, it attmpets to reconstruct the positions and values of common systematic tunes in different regions in the evolution process of “Gao Wen Jyu”. </p>\u0000<p> </p>\u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122174440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370005
張惠思 張惠思
教育一直是南洋華人念茲在茲的民族事業，早在一九零八年即有女子學校。除了近現代南洋書籍與報刊的新聞或文化記述，上海出版的畫報雜誌亦偶見南洋知識女性圖像。這些照片提供我們回溯近現代南洋微觀卻具體的小歷史。本文因而嘗試通過近現代刊物中的南洋女子圖像，勾勒南洋知識女性的面貌以及圖像所凸顯出來的南洋知識女性教育與校園生活。這些畫報與雜誌中刊出的多為女教員與女學生身影。知識身份成為她們姿容重要的添加物，展現了知識女性新氣度、時代精神及積極展現自我的自覺。一些畫報也突出女運動員的英姿風貌，強調女性得以步入現代化的教育方式，注重女性身體健康與自我超越。此外，通過女學集體照，我們可以看見隨著時間逐漸增長的人數以及女學生大型集體活動如運動會、演劇、西式體操等，拓展女性身體的公共空間。 Prior to the formation of the Federation of Malaya, the Chinese community which has settled in Nanyang sees education as a very important issue. Hence in 1908, the girls’ schools were established. There are images and accounts which depict the condition of women’s education in Nanyang, either in the local news report or cultural narrative. Occasionally, there are also some photos of Nanyang female intellectuals published in Shanghai’s pictorials and magazines. This paper examines the graphics of Nanyang female in pictorials and magazines, and tries to highlight their educational environment and life in schools. These visual materials mostly feature female principals, teachers and students, which exhibit the lively character of female intellectuals. Besides that, the print media also drew attention to the heroic appearance of sportswomen, emphasized the women’s ability to integrate themselves well in the modern education system and responded with a consciousness on physical health and self-transcendence. Furthermore, group photos of their participation in gymnastics, sports competition and drama performance were also published on the pictorials and magazines. The increase of female participants in large-scale group activities as presented in this paper shows the expansion of the female public sphere in that era.
教育一直是南洋华人念兹在兹的民族事业，早在一九零八年即有女子学校。除了近现代南洋书籍与报刊的新闻或文化记述，上海出版的画报杂志亦偶见南洋知识女性图像。这些照片提供我们回溯近现代南洋微观却具体的小历史。本文因而尝试通过近现代刊物中的南洋女子图像，勾勒南洋知识女性的面貌以及图像所凸显出来的南洋知识女性教育与校园生活。这些画报与杂志中刊出的多为女教员与女学生身影。知识身份成为她们姿容重要的添加物，展现了知识女性新气度、时代精神及积极展现自我的自觉。一些画报也突出女运动员的英姿风貌，强调女性得以步入现代化的教育方式，注重女性身体健康与自我超越。此外，通过女学集体照，我们可以看见随著时间逐渐增长的人数以及女学生大型集体活动如运动会、演剧、西式体操等，拓展女性身体的公共空间。 Prior to the formation of the Federation of Malaya, the Chinese community which has settled in Nanyang sees education as a very important issue. Hence in 1908, the girls’ schools were established. There are images and accounts which depict the condition of women’s education in Nanyang, either in the local news report or cultural narrative. Occasionally, there are also some photos of Nanyang female intellectuals published in Shanghai’s pictorials and magazines. This paper examines the graphics of Nanyang female in pictorials and magazines, and tries to highlight their educational environment and life in schools. These visual materials mostly feature female principals, teachers and students, which exhibit the lively character of female intellectuals. Besides that, the print media also drew attention to the heroic appearance of sportswomen, emphasized the women’s ability to integrate themselves well in the modern education system and responded with a consciousness on physical health and self-transcendence. Furthermore, group photos of their participation in gymnastics, sports competition and drama performance were also published on the pictorials and magazines. The increase of female participants in large-scale group activities as presented in this paper shows the expansion of the female public sphere in that era.
{"title":"南洋女學的印跡：近現代畫報與雜誌中南洋知識女性圖像的意涵","authors":"張惠思 張惠思","doi":"10.53106/2306036020210600370005","DOIUrl":"https://doi.org/10.53106/2306036020210600370005","url":null,"abstract":"\u0000 教育一直是南洋華人念茲在茲的民族事業，早在一九零八年即有女子學校。除了近現代南洋書籍與報刊的新聞或文化記述，上海出版的畫報雜誌亦偶見南洋知識女性圖像。這些照片提供我們回溯近現代南洋微觀卻具體的小歷史。本文因而嘗試通過近現代刊物中的南洋女子圖像，勾勒南洋知識女性的面貌以及圖像所凸顯出來的南洋知識女性教育與校園生活。這些畫報與雜誌中刊出的多為女教員與女學生身影。知識身份成為她們姿容重要的添加物，展現了知識女性新氣度、時代精神及積極展現自我的自覺。一些畫報也突出女運動員的英姿風貌，強調女性得以步入現代化的教育方式，注重女性身體健康與自我超越。此外，通過女學集體照，我們可以看見隨著時間逐漸增長的人數以及女學生大型集體活動如運動會、演劇、西式體操等，拓展女性身體的公共空間。\u0000 Prior to the formation of the Federation of Malaya, the Chinese community which has settled in Nanyang sees education as a very important issue. Hence in 1908, the girls’ schools were established. There are images and accounts which depict the condition of women’s education in Nanyang, either in the local news report or cultural narrative. Occasionally, there are also some photos of Nanyang female intellectuals published in Shanghai’s pictorials and magazines. This paper examines the graphics of Nanyang female in pictorials and magazines, and tries to highlight their educational environment and life in schools. These visual materials mostly feature female principals, teachers and students, which exhibit the lively character of female intellectuals. Besides that, the print media also drew attention to the heroic appearance of sportswomen, emphasized the women’s ability to integrate themselves well in the modern education system and responded with a consciousness on physical health and self-transcendence. Furthermore, group photos of their participation in gymnastics, sports competition and drama performance were also published on the pictorials and magazines. The increase of female participants in large-scale group activities as presented in this paper shows the expansion of the female public sphere in that era.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"52 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128827667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370007
吳肇嘉 吳肇嘉
歷來的莊子研究，往往著重於「生命哲學」主觀面向，而未意識到其「外王」面的作用。這不但窄化了莊學理論的豐富性，同時也削損其回應時代變化的可能。本文目的，即在發掘莊子外王思想的線索，並探討其作用於人間世的方式。 以《莊》書對「有為之治」的批判觀之，莊子將一切存有問題歸因於「心知」之造作，書中所有工夫論述皆是對此而發。由於心知造作遮蔽德性，阻礙生命與外物的自然互動，而牽引外物脫軌亂序。因此問題之解答，即在解消心知造作以恢復德性作用。個體透過「德」的活動而與造化萬物的「道」相接，終而能與存在界達成本然的契合。故莊子的外王，只須無為修養，而不勞典制建構；「即內聖而即外王」一語，就此義可為莊子外王實踐的恰當表述。 In the past, the understanding of Zhuangzi’s thoughts often focused on the subjective aspects of the ""Life Philosophy "" without realizing its objective impact on society. This not only limited the richness of his thoughts, but also underestimated its ability to cope with the changes of the times. Therefore, the purpose of this article is to find clues about the “Outward Governance”（外王） in Zhuangzi’s thought, and to explore the ways in which it affects society. The exploration starts from the “Root Problem”（「基源問題」） of Zhuangzi. It could be inferred from the acute criticism in the texts against “the interventionist governance”（有為之治） that Zhuangzi obviously blamed every existing problem on “Mind”（心知）, and any practice is developed for this. Because the paranoid structure of the Mind suppresses human nature（德）and hinders the natural interaction between life and external things, it causes the whole world to derail and disorder. The answer to this question is to untie the paranoid structure of the mind to restore the role of human nature. Through the spontaneous activities of human nature, the individual is connected with the ""Tao""（道）that creates all things, and finally the original fit between the individual and all beings can be realized. Therefore, Zhuangzi’s political practice only requires the cultivation of a ""Non-Interference"" attitude, not the construction of a specific system. In this sense, the best description of Zhuangzi’s political practice is the phrase ""Cultivation itself is politics"".
历来的庄子研究，往往著重于「生命哲学」主观面向，而未意识到其「外王」面的作用。这不但窄化了庄学理论的丰富性，同时也削损其回应时代变化的可能。本文目的，即在发掘庄子外王思想的线索，并探讨其作用于人间世的方式。 以《庄》书对「有为之治」的批判观之，庄子将一切存有问题归因于「心知」之造作，书中所有工夫论述皆是对此而发。由于心知造作遮蔽德性，阻碍生命与外物的自然互动，而牵引外物脱轨乱序。因此问题之解答，即在解消心知造作以恢复德性作用。个体透过「德」的活动而与造化万物的「道」相接，终而能与存在界达成本然的契合。故庄子的外王，只须无为修养，而不劳典制建构；「即内圣而即外王」一语，就此义可为庄子外王实践的恰当表述。 In the past, the understanding of Zhuangzi’s thoughts often focused on the subjective aspects of the ""Life Philosophy "" without realizing its objective impact on society. This not only limited the richness of his thoughts, but also underestimated its ability to cope with the changes of the times. Therefore, the purpose of this article is to find clues about the “Outward Governance”（外王） in Zhuangzi’s thought, and to explore the ways in which it affects society. The exploration starts from the “Root Problem”（「基源问题」） of Zhuangzi. It could be inferred from the acute criticism in the texts against “the interventionist governance”（有为之治） that Zhuangzi obviously blamed every existing problem on “Mind”（心知）, and any practice is developed for this. Because the paranoid structure of the Mind suppresses human nature（德）and hinders the natural interaction between life and external things, it causes the whole world to derail and disorder. The answer to this question is to untie the paranoid structure of the mind to restore the role of human nature. Through the spontaneous activities of human nature, the individual is connected with the ""Tao""（道）that creates all things, and finally the original fit between the individual and all beings can be realized. Therefore, Zhuangzi’s political practice only requires the cultivation of a ""Non-Interference"" attitude, not the construction of a specific system. In this sense, the best description of Zhuangzi’s political practice is the phrase ""Cultivation itself is politics"".
{"title":"論莊子「即內聖即外王」的實踐型態","authors":"吳肇嘉 吳肇嘉","doi":"10.53106/2306036020210600370007","DOIUrl":"https://doi.org/10.53106/2306036020210600370007","url":null,"abstract":"\u0000 歷來的莊子研究，往往著重於「生命哲學」主觀面向，而未意識到其「外王」面的作用。這不但窄化了莊學理論的豐富性，同時也削損其回應時代變化的可能。本文目的，即在發掘莊子外王思想的線索，並探討其作用於人間世的方式。\u0000 以《莊》書對「有為之治」的批判觀之，莊子將一切存有問題歸因於「心知」之造作，書中所有工夫論述皆是對此而發。由於心知造作遮蔽德性，阻礙生命與外物的自然互動，而牽引外物脫軌亂序。因此問題之解答，即在解消心知造作以恢復德性作用。個體透過「德」的活動而與造化萬物的「道」相接，終而能與存在界達成本然的契合。故莊子的外王，只須無為修養，而不勞典制建構；「即內聖而即外王」一語，就此義可為莊子外王實踐的恰當表述。\u0000 In the past, the understanding of Zhuangzi’s thoughts often focused on the subjective aspects of the \"\"Life Philosophy \"\" without realizing its objective impact on society. This not only limited the richness of his thoughts, but also underestimated its ability to cope with the changes of the times. Therefore, the purpose of this article is to find clues about the “Outward Governance”（外王） in Zhuangzi’s thought, and to explore the ways in which it affects society.\u0000 The exploration starts from the “Root Problem”（「基源問題」） of Zhuangzi. It could be inferred from the acute criticism in the texts against “the interventionist governance”（有為之治） that Zhuangzi obviously blamed every existing problem on “Mind”（心知）, and any practice is developed for this. Because the paranoid structure of the Mind suppresses human nature（德）and hinders the natural interaction between life and external things, it causes the whole world to derail and disorder. The answer to this question is to untie the paranoid structure of the mind to restore the role of human nature. Through the spontaneous activities of human nature, the individual is connected with the \"\"Tao\"\"（道）that creates all things, and finally the original fit between the individual and all beings can be realized. Therefore, Zhuangzi’s political practice only requires the cultivation of a \"\"Non-Interference\"\" attitude, not the construction of a specific system. In this sense, the best description of Zhuangzi’s political practice is the phrase \"\"Cultivation itself is politics\"\".\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"271 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124389062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370002
阮蘇蘭 阮蘇蘭
妙善觀音傳說不僅在中國，也在越南的觀音崇拜信仰都形成女性形象的基礎。儘管佛教或崇拜觀音的信仰在十世紀之前已在越南傳播，但直到十四世紀初，這個傳說的出現才在越南得到證實。從十六世紀末到十九世紀末二十世紀初，小說、寶卷、真經等不同類型的妙善觀音傳本被越南文學接受，並翻譯成六八體喃字詩傳。這些喃字傳故事對大眾的文化和宗教生活產生深遠的影響。本論文基於漢喃資料重現妙善觀音傳說傳播的歷史過程，以分析它們對民間雕刻木版畫的影響。其中，各種妙善觀音傳說喃譯版本的民間藝術創作資料，以圖畫的方式呈現，使得版畫成為喃傳觀音故事向公眾傳播喃字故事的渠道。書籍與版畫不僅使崇拜觀音成為越南主流信仰的動力之一，也顯示本土化的女性觀音特徵。 The legend of Miaoshan-Guanyin constitutes the foundation of beliefs in the female form of Guanyin not only in China, but also in Vietnam. Although Buddhism and Guanyin beliefs in particular had spread in Vietnam before the 10th century, the appearance of this legend can be confirmed only at the beginning of the 14th century. From the end of the 16th century to the end of the 19th -- beginning of the 20th century, different versions of Miaoshan-Guanyin legend, such as novels (xiaoshuo), precious scrolls (baojuan), and true scriptures (zhenjing), were adapted in Vietnamese literature and translated into six-eight verse narratives. These Nôm versions have a profound impact on the cultural and religious life of the folk. This article presents the spread of the legend of Miaoshan-Guanyin in Vietnam to analyze its Nôm adaptions’s influence on the folk woodblock prints. The Nôm versions of the Miaoshan-Guanyin legend which are represented in folk woodblock prints become a channel for transmission of the story of Guanyin to the commoners. Sino-Nôm manuscripts and woodblock prints not only propagate the worship of Guanyin one of the main driving forces of Vietnam’s mainstream beliefs, but also express characteristics of the localized female form of Guanyin.
妙善观音传说不仅在中国，也在越南的观音崇拜信仰都形成女性形象的基础。尽管佛教或崇拜观音的信仰在十世纪之前已在越南传播，但直到十四世纪初，这个传说的出现才在越南得到证实。从十六世纪末到十九世纪末二十世纪初，小说、宝卷、真经等不同类型的妙善观音传本被越南文学接受，并翻译成六八体喃字诗传。这些喃字传故事对大众的文化和宗教生活产生深远的影响。本论文基于汉喃资料重现妙善观音传说传播的历史过程，以分析它们对民间雕刻木版画的影响。其中，各种妙善观音传说喃译版本的民间艺术创作资料，以图画的方式呈现，使得版画成为喃传观音故事向公众传播喃字故事的渠道。书籍与版画不仅使崇拜观音成为越南主流信仰的动力之一，也显示本土化的女性观音特征。 The legend of Miaoshan-Guanyin constitutes the foundation of beliefs in the female form of Guanyin not only in China, but also in Vietnam. Although Buddhism and Guanyin beliefs in particular had spread in Vietnam before the 10th century, the appearance of this legend can be confirmed only at the beginning of the 14th century. From the end of the 16th century to the end of the 19th -- beginning of the 20th century, different versions of Miaoshan-Guanyin legend, such as novels (xiaoshuo), precious scrolls (baojuan), and true scriptures (zhenjing), were adapted in Vietnamese literature and translated into six-eight verse narratives. These Nôm versions have a profound impact on the cultural and religious life of the folk. This article presents the spread of the legend of Miaoshan-Guanyin in Vietnam to analyze its Nôm adaptions’s influence on the folk woodblock prints. The Nôm versions of the Miaoshan-Guanyin legend which are represented in folk woodblock prints become a channel for transmission of the story of Guanyin to the commoners. Sino-Nôm manuscripts and woodblock prints not only propagate the worship of Guanyin one of the main driving forces of Vietnam’s mainstream beliefs, but also express characteristics of the localized female form of Guanyin.
{"title":"民間傳說與木版版畫：觀音女性化形象在越南","authors":"阮蘇蘭 阮蘇蘭","doi":"10.53106/2306036020210600370002","DOIUrl":"https://doi.org/10.53106/2306036020210600370002","url":null,"abstract":"\u0000 妙善觀音傳說不僅在中國，也在越南的觀音崇拜信仰都形成女性形象的基礎。儘管佛教或崇拜觀音的信仰在十世紀之前已在越南傳播，但直到十四世紀初，這個傳說的出現才在越南得到證實。從十六世紀末到十九世紀末二十世紀初，小說、寶卷、真經等不同類型的妙善觀音傳本被越南文學接受，並翻譯成六八體喃字詩傳。這些喃字傳故事對大眾的文化和宗教生活產生深遠的影響。本論文基於漢喃資料重現妙善觀音傳說傳播的歷史過程，以分析它們對民間雕刻木版畫的影響。其中，各種妙善觀音傳說喃譯版本的民間藝術創作資料，以圖畫的方式呈現，使得版畫成為喃傳觀音故事向公眾傳播喃字故事的渠道。書籍與版畫不僅使崇拜觀音成為越南主流信仰的動力之一，也顯示本土化的女性觀音特徵。 \u0000 The legend of Miaoshan-Guanyin constitutes the foundation of beliefs in the female form of Guanyin not only in China, but also in Vietnam. Although Buddhism and Guanyin beliefs in particular had spread in Vietnam before the 10th century, the appearance of this legend can be confirmed only at the beginning of the 14th century. From the end of the 16th century to the end of the 19th -- beginning of the 20th century, different versions of Miaoshan-Guanyin legend, such as novels (xiaoshuo), precious scrolls (baojuan), and true scriptures (zhenjing), were adapted in Vietnamese literature and translated into six-eight verse narratives. These Nôm versions have a profound impact on the cultural and religious life of the folk. This article presents the spread of the legend of Miaoshan-Guanyin in Vietnam to analyze its Nôm adaptions’s influence on the folk woodblock prints. The Nôm versions of the Miaoshan-Guanyin legend which are represented in folk woodblock prints become a channel for transmission of the story of Guanyin to the commoners. Sino-Nôm manuscripts and woodblock prints not only propagate the worship of Guanyin one of the main driving forces of Vietnam’s mainstream beliefs, but also express characteristics of the localized female form of Guanyin. \u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130472155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370009
范宜如 范宜如
中國西南地域以獨特之地理位置輻輳著民族、貿易、帝國權力與異域知識等人文面向，而明代文人關於西南地域之紀遊書寫，則因應文人的書寫位置、文類特質展現其文學意蘊與文化視野。其中《徐霞客遊記》已成經典，有「徐學」之稱，值得深入追索。除了華夷對舉的批判性思考，以及文人心態的反身性理解之外，如何在史料鋪陳中發現新意，闡述文學本質及人與空間的互動，是值得關注的部分。本文以徐弘祖進入西南地域的行動探索與紀實表述為核心，聚焦於異族的文化接觸，呈現紀遊文學的情感內蘊及感覺結構，並藉此反思徐弘祖的書寫位置，審視其西南知識之構成。 Occupying a unique geographic position, Southwest China has witnessed frequent ethnic encounters, trade exchanges, empire power expansions, and foreign knowledge transmission. It is in this region that Ming intellectuals composed travelogues offering remarkable literary/cultural insights, and Xu Xiake youji is one such classic. In fact, such is the influence of this travelogue that a scholarly field named Xuxue has been developed for its further investigation. In addition to Han/non-Han dualistic critical considering and intellectual self-reflection, it is also significant to delve into the subtle connotations in this travelogue and how the writer depicted the literary essence along with the human-space interactions. This paper will center on Xu Hongzu’s explorations and narrations in the southwest, and shed light on Xu’s cultural contacts with non-Han people. By doing so, we can reveal the travelogue’s emotional dimensions and its structure of feelings, thus reconsidering Xu’s writing position and the make-up of his discourse of southwestern knowledge, experience, and imagination.
中国西南地域以独特之地理位置辐辏著民族、贸易、帝国权力与异域知识等人文面向，而明代文人关于西南地域之纪游书写，则因应文人的书写位置、文类特质展现其文学意蕴与文化视野。其中《徐霞客游记》已成经典，有「徐学」之称，值得深入追索。除了华夷对举的批判性思考，以及文人心态的反身性理解之外，如何在史料铺陈中发现新意，阐述文学本质及人与空间的互动，是值得关注的部分。本文以徐弘祖进入西南地域的行动探索与纪实表述为核心，聚焦于异族的文化接触，呈现纪游文学的情感内蕴及感觉结构，并借此反思徐弘祖的书写位置，审视其西南知识之构成。 Occupying a unique geographic position, Southwest China has witnessed frequent ethnic encounters, trade exchanges, empire power expansions, and foreign knowledge transmission. It is in this region that Ming intellectuals composed travelogues offering remarkable literary/cultural insights, and Xu Xiake youji is one such classic. In fact, such is the influence of this travelogue that a scholarly field named Xuxue has been developed for its further investigation. In addition to Han/non-Han dualistic critical considering and intellectual self-reflection, it is also significant to delve into the subtle connotations in this travelogue and how the writer depicted the literary essence along with the human-space interactions. This paper will center on Xu Hongzu’s explorations and narrations in the southwest, and shed light on Xu’s cultural contacts with non-Han people. By doing so, we can reveal the travelogue’s emotional dimensions and its structure of feelings, thus reconsidering Xu’s writing position and the make-up of his discourse of southwestern knowledge, experience, and imagination.
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Pub Date : 2021-06-01DOI: 10.53106/2306036020210600370006
作者 作者
處於銜接傳統與現代交替關鍵的明朝時期，人文風景展示著種種轉換的影像，或顯或隱，不論內涵與形式，都在巨細之間透露出相互呼應的消息，尤其是最能反映各類情境的通俗文學，不但吞吐即時訊息，而且提供背景資料，以及追蹤指南。因此，本論文擬連結儒家經典與通俗文學二者，探討傳統思維在時空易移下的吸納與演化。茲以精研《春秋》的「三言」（《喻世明言》、《警世通言》、《醒世恒言》）作者馮夢龍為關注主體，從轉變的角度，結合時代特質、學術取向、社會樣貌、文本體式、生命情理等多重層面，觀察其所撰《新列國志》之中，承載《春秋》的狀態，並尋繹其脈絡與意涵。 The Ming Dynasty was an era of alternating tradition and modernity. Popular literature was becoming more and more popular, and Feng Meng-long’s Xin Lie Guo Zhi is one of the representatives. This thesis will take Xin Lie Guo Zhi and Confucian classics Chun Que as examples to discuss the acceptance of Confucian thinking in popular literature at that time. The content includes: analysis and comparison of the characteristics of the times, social influence, writing characteristics, and humanistic care of Chun Que and Xin Lie Guo Zhi in angles of historical events, academic development, and literary performance.
处于衔接传统与现代交替关键的明朝时期，人文风景展示著种种转换的影像，或显或隐，不论内涵与形式，都在巨细之间透露出相互呼应的消息，尤其是最能反映各类情境的通俗文学，不但吞吐即时讯息，而且提供背景资料，以及追踪指南。因此，本论文拟连结儒家经典与通俗文学二者，探讨传统思维在时空易移下的吸纳与演化。兹以精研《春秋》的「三言」（《喻世明言》、《警世通言》、《醒世恒言》）作者冯梦龙为关注主体，从转变的角度，结合时代特质、学术取向、社会样貌、文本体式、生命情理等多重层面，观察其所撰《新列国志》之中，承载《春秋》的状态，并寻绎其脉络与意涵。 The Ming Dynasty was an era of alternating tradition and modernity. Popular literature was becoming more and more popular, and Feng Meng-long’s Xin Lie Guo Zhi is one of the representatives. This thesis will take Xin Lie Guo Zhi and Confucian classics Chun Que as examples to discuss the acceptance of Confucian thinking in popular literature at that time. The content includes: analysis and comparison of the characteristics of the times, social influence, writing characteristics, and humanistic care of Chun Que and Xin Lie Guo Zhi in angles of historical events, academic development, and literary performance.
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