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迟桂
(作者置顶)
八月桂花九月开
飘风渗雨浮香来
浓芳郁烈人将醉
忽念花时谁剪裁
以为江汉花时尽
回转柯城金色妍
村妇桌沿轻盏中
笑答芳迹只门前
门前公路橘园边
夹道成林未久栽
急驶迟行谁驻足
花疏香淡悠然开
旧池北岸簇生桂
花气远袭繁似雪
莫是花仙独眷顾
时节大雪风寒冽
他枝挂果花焦枯
我自发花意兴浓
玄默金苞绕嫩红
偏执冷酷竟春容
暂雪复晴冬至既
余劫更羡花枝艳
真阳随度雪消寒
他日百花谁想念
烂柯诗词
(作者置顶)
未加校核,请勿转抄
信安郡石室山,晋时王质伐木至,见童子数人棋而歌,质因听之。童子以一物与质,如枣核,质含之而不觉饥。俄顷,童子谓曰:"何不去?"质起视,斧柯尽烂。既归,无复时人。
(传南朝梁·任昉《述异记》)
五言咏棋
李世民
其一
手谈标昔美,坐隐逸前良。
参差分两势,玄素引双行。
舍生非假命,带死不关伤。
方知仙岭侧,烂斧几寒芳。
其二
治兵期制胜,裂地不要勋。
半死围中断,全生节外分。
雁行非假翼,阵气本无云。
玩死孙吴意,怡神静俗氛。
全唐詩全文檢索資料庫回應
資料庫規畫與程式撰作:陳郁夫
本文檔校對:東吳中文研究所
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第1筆
石橋(在衢之爛柯山,即王質看仙人弈棋處也。詩有貞元二年嚴綬石刻記。○詩內缺二十一字。) 信安王禕
別有經行所,迥跨重巒側。粵因求瘼餘,倏想尋真域。
放情恣披拂,杖策聊□□。□□□□□,□□□□色。
亂幡霧中見,雁塔雲間識。薄煙冪遠郊,遙峰沒歸翼。
仙橋危石架,幽洞乘□□。□□□□□,□□□易測。
二教無先後,一相平而直。冀茲捐俗心,永懷依妙力。
[頁]卷,冊....[66]6,1
第2筆
送吉州閻使君入道二首 戎昱
聞道桃源去,塵心忽自悲。余當從宦日,君是棄官時。
金汞封仙骨,靈津嚥玉池。受傳三籙備,起坐五雲隨。
洞裏花常發,人間鬢易衰。他年會相訪,莫作爛柯棋。
廬陵太守近隳官,霞(一作月)帔初朝五(一作玉)帝壇。風過鬼神延(一作迎)受籙,夜深龍虎衛燒丹。
冰容入鏡纖埃靜,玉液添(一作傾)瓶漱齒寒。莫遣桃花迷客路,千山萬水訪君難。
[頁]卷,冊....[3012]270,8
第3筆
哭張倉曹南史 竇常
萬事竟蹉跎,重泉恨若何。官臨環衛小,身逐轉蓬多。
麗藻嘗專席,閒情欲爛柯。春風宛陵路,丹旐在滄波。
[頁]卷,冊....[3031]271,8
第4筆
時興 竇群
夙心曠何許,日暮依林薄。流水不待人,孤雲時映鶴。
濛濛千萬花,曷為神仙藥。不遇爛柯叟,報非舊城郭。
[頁]卷,冊....[3040]271,8
第5筆
爛柯山四首 劉迥
按此詩見信安志爛柯山石刻,並見者,李幼卿、李深、謝、羊滔、
薛戎五人,或一時同詠,或先後繼唱,皆列於後。
白雲引策仗,苔徑誰往還。漸見松樹偃,時聞鳥聲閒。
豁然喧氛盡,獨對萬重山。(最高頂)
石橋駕絕壑,蒼翠橫鳥道。憑檻雲腳下,頹陽日猶蚤。
霓裳倘一遇,千載長不老。(石橋)
靈境偶一尋,洞天碧雲上。爛柯有遺跡,羽客何由訪。
日暮悵欲還,晴煙滿千嶂。(仙人棋)
繩床宴坐久,石窟絕行跡。能在人代中,遂將人代隔。
白雲風颺飛(一作孤峰上),非欲待歸客。(石室二禪師)
[頁]卷,冊....[3517]312,10
第6筆
遊爛柯山四首 李幼卿
拂霧理孤策,薄霄眺層岑。迥升煙霧外,豁見天地心。
物象不可及,遲回空詠吟。
巨石何崔嵬,橫橋架山頂。傍通日月過,仰望虹霓迥。
聖者開津梁,誰能度茲嶺。
二仙自圍棋,偶與樵夫會。仙家異人代,俄頃千年外。
笙鶴何時還,儀形尚相對。
石室過雲外,二僧儼禪寂。不語對空山,無心向來客。
作禮未及終,忘循舊形跡。
[頁]卷,冊....[3518]312,10
第7筆
遊爛柯山四首 李深
尋源路不迷,絕頂與雲齊。坐引群峰小,平看萬木低。
雙林春色上,正有子規啼。
嵌空橫洞天,磅礡倚崖巘。宛如虹勢出,可賞不可轉。
真興得津梁,抽簪永游衍。
羽客無姓名,仙棋但聞見。行看負薪客,坐使桑田變。
懷古正怡然,前山早鶯囀。
稽首期發蒙,吾師豈無說。安禪即方丈,演法皆寂滅。
鳴磬雨花香,齋堂飯松屑。
[頁]卷,冊....[3518]312,10
第8筆
遊爛柯山 羊滔
步登春巖裏,更上最遠山。聊見宇宙闊,遂令身世閒。
清輝賞不盡,高駕何時還。
石梁聳千尺,高盼出林□。亙壑躡丹虹,排雲弄清影。
路期訪道客,遊衍空井井。(第二句缺一字)
採薪窮冥搜,深路轉清映。安知洞天裏,偶坐得棋聖。
至今追靈跡,可用陶靜性。
沙門何處人,攜手俱滅跡。深入不動境,乃知真圓寂。
有時歸羅浮,白日見飛錫。
[頁]卷,冊....[3519]312,10
第9筆
遊爛柯山 薛戎
登岩已寂歷,絕頂更岧嶢。響像如天近,窺臨與世遙。
悠然暢心目,萬慮一時銷。
聖遊本無跡,留此示津梁。架險知何適,遺名但不亡。
只今成佛宇,化度果難量。
二仙行自適,日月徒遷徙。不語寄手談,無心引樵子。
蒙分一丸藥,相偶窮年祀。
仙山習禪處,了知通李釋。昔作異時人,今成相對寂。
便是不二門,自生瞻仰意。
[頁]卷,冊....[3519]312,10
第10筆
遊爛柯山 謝
獨凌清景出,下視眾山中。雲日遙相對,川原無不通。
自致高標末,何心待馭風。
宛演橫半規,穹崇翠微上。雲扃掩苔石,千古無人賞。
寧知後賢心,登此共來往。
仙弈示樵夫,能言忘歸路。因看斧柯爛,孫子髮已素。
孰雲遺跡久,舉意如旦暮。
仙僧會真要,應物常淵默。惟將無住理,轉與信人說。
月影清江中,可觀不可得。
[頁]卷,冊....[3520]312,10
第11筆
衢州徐員外使君遺以縞紵兼竹書箱因成一篇用答佳貺(按此郡本自婺州析置,徐(州)自台州遷。)[4050] 劉禹錫
爛柯山下舊仙郎,列宿來添婺女光。遠放歌聲分白紵,知傳家學與青箱。
水朝滄海何時去,蘭在幽林亦自芳。聞說天台有遺愛,人將琪樹比甘棠。
[頁]卷,冊....[4051]359,11
第12筆
酬樂天揚州初逢席上見贈 劉禹錫
巴山楚水淒涼地,二十三年棄置身。懷舊空吟聞笛賦,到鄉翻似爛柯人。
沈舟側畔千帆過,病樹前頭萬木春。今日聽君歌一曲,暫憑杯酒長精神。
[頁]卷,冊....[4061]360,11
第13筆
爛柯石 孟郊
仙界一日內,人間千載窮。雙棋未遍局,萬物皆為空。
樵客返歸路,斧柯爛從風。唯餘石橋在,獨自凌丹虹(一作獨有靈丹紅)。
[頁]卷,冊....[4262]380,12
第14筆
遊爛柯山 項斯
步步出塵氛,溪山別是春。壇邊時過鶴,棋處寂無人。
訪古碑多缺,探幽路不真。翻疑歸去晚,清世累移[6415]晨。
[頁]卷,冊....[6416]554,17
第15筆
重過三衢哭孫員外[7604] 羅隱
爛柯山下忍重到,雙檜樓前日欲殘。華屋未移春照灼,故侯何在淚汍瀾。
不唯濟物工夫大,長憶容才尺度寬。一慟旁人莫相笑,知音衰盡路行難。
[頁]卷,冊....[7605]664,19
第16筆
奉和崔中丞使君論李侍御萼登爛柯山宿石橋寺效小謝體 皎然
常愛謝公郡,幽期願相從。果迴青驄臆,共躡玄仙蹤。
靈境若髣,爛柯思再逢。飛梁丹霞接,古局蒼苔封。
往想冥昧理,誰親冰雪容。蕙樓聳空界,蓮宇開中峰。(今為仙寺,晉是仙山。遺局,古橋、升仙之處見在)
昔化沖虛鶴,今藏護發龍。雲窺香樹沓,月見色天重。
永夜寄岑寂,清言滌心胸。盛遊千年後,書在巖中松。
[頁]卷,冊....[9199]817,23
第17筆
王霸仙壇磚刻
黃滔撰王審知福州造像碑云,梁時,王霸於怡山上昇,山在府城之西
五里。光啟丁未歲,衢之爛柯山道士徐景立,於仙壇東北隅取土,掘
得瓷磚七口,各可容一升水,其中悉有炭,上總蓋一青磚。刻文字云
云,其壇東南有皁莢樹。古云,真君於此樹上上升,其後枯矣。至咸
通庚寅歲復榮茂,為我公開閩之祥也。
樹枯不用伐,壇壞不須結。未滿一千歲,自有系孫列。
後來是三皇,潮水蕩禍殃。巖逢二乍間,未免有消亡。
子孫依吾道,代代封閩疆。(五代史補云:潮蕩禍殃,謂王潮除禍患開基也。巖逢二乍間,謂連帥陳巖死,潮取閩也。代代,明封崇不過潮與審知兩世也。)
[頁]卷,冊....[9914]875,25
酬乐天扬州初逢席上见赠
刘禹锡
巴山楚水凄凉地, 二十三年弃置身。
怀旧空吟闻笛赋, 到乡翻似烂柯人。
沉舟侧畔千帆过, 病树前头万木春。
今日听君歌一曲, 暂凭杯酒长精神。
唐敬宗宝历二年(826),刘禹锡罢和州刺史任返洛阳,同时白居易从苏州归洛,两位诗人在扬州相逢。白居易在筵席上写了一首诗相赠:“为我引杯添酒饮,与君把箸击盘歌。诗称国手徒为尔,命压人头不奈何。举眼风光长寂寞,满朝官职独蹉跎。亦知合被才名折,二十三年折太多。”刘禹锡便写了《酬乐天扬州初逢席上见赠》来酬答他。
刘禹锡这首酬答诗,接过白诗的话头,着重抒写这特定环境中自己的感情。白的赠诗中,白居易对刘禹锡的遭遇无限感慨,最后两句说:“亦知合被才名折,二十三年折太多。”一方面感叹刘禹锡的不幸命运,另一方面又称赞了刘禹锡的才气与名望。大意是说:你该当遭到不幸,谁叫你的才名那么高呢!可是二十三年的不幸,未免过分了。这两句诗,在同情之中又包含着赞美,显得十分委婉。因为白居易在诗的末尾说到二十三年,所以刘禹锡在诗的开头就接着说:“巴山楚水凄凉地,二十三年弃置身。”自己谪居在巴山楚水这荒凉的地区,算来已经二十三年了。一来一往,显出朋友之间推心置腹的亲切关系。
接着,诗人很自然地发出感慨道:“怀旧空吟闻笛赋,到乡翻似烂柯人。”说自己在外二十三年,如今回来,许多老朋友都已去世,只能徒然地吟诵“闻笛赋”表示悼念而已。此番回来恍如隔世,觉得人事全非,不再是旧日的光景了。后一句用王质烂柯的典故,既暗示了自己贬谪时间的长久,又表现了世态的变迁,以及回归之后生疏而怅惘的心情,涵义十分丰富。
白居易的赠诗中有“举眼风光长寂寞,满朝官职独蹉跎”这样两句,意思是说同辈的人都升迁了,只有你在荒凉的地方寂寞地虚度了年华,颇为刘禹锡抱不平。对此,刘禹锡在酬诗中写道:“沉舟侧畔千帆过,病树前头万木春。”刘禹锡以沉舟、病树比喻自己,固然感到惆怅,却又相当达观。沉舟侧畔,有千帆竞发;病树前头,正万木皆春。他从白诗中翻出这二句,反而劝慰白居易不必为自己的寂寞、蹉跎而忧伤,对世事的变迁和仕宦的升沉,表现出豁达的襟怀。这两句诗意又和白诗“命压人头不奈何”、“亦知合被才名折”相呼应,但其思想境界要比白诗高,意义也深刻得多了。二十三年的贬谪生活,并没有使他消沉颓唐。正象他在另外的诗里所写的:“莫道桑榆晚,为霞犹满天。”他这棵病树仍然要重添精神,迎上春光。因为这两句诗形象生动,至今仍常常被人引用,并赋予它以新的意义,说明新事物必将取代旧事物。
正因为“沉舟”这一联诗突然振起,一变前面伤感低沉的情调,尾联便顺势而下,写道:“今日听君歌一曲,暂凭杯酒长精神。”点明了酬答白居易的题意。意思是说,今天听了你的诗歌不胜感慨,暂且借酒来振奋精神吧!刘禹锡在朋友的热情关怀下,表示要振作起来,重新投入到生活中去。表现出坚韧不拔的意志。诗情起伏跌宕,沉郁中见豪放,是酬赠诗中优秀之作。
(袁行霈)
過瑞龍觀道士 錢起
不知誰氏子,鍊魄家洞天。鶴待成丹日,人尋種杏田。
靈山含道氣,物性皆自然。白鹿顧瑞草,驪龍蟠玉泉。
得茲象外趣,便割區中緣。石竇采雲母,霞堂陪列仙。
主人善止客,柯爛忘歸年。
[頁]卷,冊....[2660]238,8
仙山行 耿湋
深溪人不到,杖策獨緣源。花落尋無徑,雞鳴覺近村。
數翁皆藉草,對〔弈〕(奕)復傾尊。看畢初為(一作圍)局,歸逢幾世孫。
雲迷入洞處,水引出山門。惆悵歸城郭,樵柯跡尚存。
[頁]卷,冊....[2995]269,8
遊終南山因寄蘇奉禮士尊師苗員外 李端
半嶺逢仙駕,清晨獨採芝。壺中開白日,霧裏捲朱旂。
猿鳥知歸路,松蘿見會時。雞聲傳洞遠,鶴語報家[3277]遲。
童子閑驅石,樵夫樂看棋。依稀醉後拜,恍惚夢中辭。
海上終難接,人間益自疑。風塵甘獨老,山水但相思。
願得燒丹訣,流沙永待(一作侍)師。
[頁]卷,冊....[3278]286,9
陪韓退之竇貽周同尋劉尊師不遇得師字 韋執中
早尚逍遙境,常懷汗漫期。星郎同訪道,羽客杳何之。
物外求仙侶,人間失我師。不知柯爛者,何處看圍棋。
[頁]卷,冊....[3527]313,10
春分投簡陽明洞天作 元稹
中分春一半,今日半春徂。老惜光陰甚,慵牽與緒孤。
偶成投秘簡,聊得泛平湖。郡邑移仙界,山川展畫圖。
旌旗遮嶼浦,士女滿闉闍。似木吳兒勁,如花越女姝。
牛儂驚力直,蠶妾笑睢盱。怪我攜章甫,嘲人託鷓鴣。
閭閻隨地勝,風俗舉華殊。跣足沿流婦,丫頭避役奴。
雕題雖少有,雞卜尚多巫。鄉味尤珍蛤,家神愛事烏。
舟船通海嶠,田種繞城隅。櫛比千艘合,袈裟萬頃鋪。
亥茶闐小市,漁父隔深蘆。日腳斜穿浪,雲根遠曳蒲。
凝風花氣度,新雨草芽蘇。粉壞梅辭萼,紅含杏綴珠。
薅餘秧漸長,燒後葑猶枯。綠綟高懸柳,青錢密辮榆。
馴歐眠淺瀨,驚雉迸平蕪。水靜王餘見,山空謝豹呼。
燕狂捎蛺蝶,螟挂集蒲盧。淺碧鶴新卵,深黃鵝嫩雛。
村扉以白板,寺壁耀赬糊。禹廟纔離郭,陳莊恰半途。
石帆何峭嶢,龍瑞本縈紆。穴為探[4647]符坼,潭因失箭刳。
堤形彎熨斗,峰勢踴香爐。幢蓋迎三洞,煙霞貯一壺。
桃枝蟠復直,桑樹亞還扶。鱉解稱從事,松堪作大夫。
榮光飄殿閣,虛籟合笙竽。庭狎仙翁鹿,池游懸令鳧。
君心除健羨,扣寂入虛無。岡踢翻星紀,章飛動帝樞。
東皇提白日,北斗下玄都。騎吏裙皆紫,科車幰盡朱。
地侯鞭社伯,海若跨天吳。霧噴雷公怒,煙揚灶鬼趨。
投壺憐玉女,飯笑麻姑。果實經千歲,衣裳重六銖。
瓊杯傳素液,金匕進雕胡。掌裏承來露,盤中釣得鱸。
菌生悲局促,柯爛覺須臾。稊米休言聖,醯雞益伏愚。
鼓瓊催瞑色,簪組縛微軀。逐別真徒侶,還來世路衢。
題詩歎城郭,揮手謝妻孥。幸有桃源近,全家肯去無。
[頁]卷,冊....[4648]423,12
送隱者歸羅浮[6600] 李群玉
春山(一作天)杳杳日遲遲,路入雲峰白犬隨。兩卷素(一作囊)書留貰酒,一柯樵斧坐看棋。
蓬萊道士飛霞履(一作札),清遠仙人寄好詩。自此塵寰音信斷,山川風月永相思。
[頁]卷,冊....[6601]569,17
石棋局獻時宰 李中
得從岳叟誠堪重,卻獻皋夔事更宜。公退啟枰書院靜,日斜收子竹陰移。
適情豈待樵柯爛,罷局還應屐齒隳。預想幽窗風雨夜,一燈閒照覆圖時。
[頁]卷,冊....[8524]748,21
妙樂觀(一作題王喬觀傳道士所居) 靈一
王喬所居空山觀,白雲至今凝不散。壇場月路幾千年,往往吹笙下天半。
瀑布西行過石橋,黃精採根還採苗。忽見一人檠茶碗,篸(一作蓼)花昨夜風吹滿。
自言家(一作住)處在東坡,白犬相隨邀我過。松間石上有棋局,能使樵人爛斧柯。
[頁]卷,冊....[9130]809,23
題醴陵玉仙觀歌(一作靈一詩,一作題王喬觀傅道士所得。) 護國
王喬一去空仙觀,白雲至今凝不散。星(一作苔)垣松殿幾千秋,(一作壇場月露幾千年)往往笙歌下天半。
瀑布西行過石橋,黃精采根還採苗。路逢(一作忽見)一人擎藥(一作茶)碗,松(一作蓼)花夜雨風吹滿。
自言家住(一作住處)在東坡,白犬相隨邀我過。南山(一作松間)石上有棋局,曾(一作能)使樵夫(一作人)爛斧柯。
[頁]卷,冊....[9138]811,23
围 棋
菅原道真
手谈幽静处,用意兴如何?
下子声偏小,成都势几多。
偷闲犹气味,送老不蹉跎。
若得逢仙客,樵夫定烂柯。
菅原道真(845-903年)是日本平安时代(792-1192年)初期的公卿,博学多才,深受当时宇多、醍醐天皇重用,被喻为日本的学问之神。
吕希道少卿松局图
苏辙知
溪回山石间,苍松立四五。
水深不可涉,上有横桥渡。
溪外无居人,磐石平可住。
纵横远山出,隐见云日莫。
下有四老人,对局不回顾。
石泉杂松风,入耳如暴雨。
不闻人世喧,自得山中趣。
何人昔相遇,图画入纨素。
尘埃依古壁,永日奉樽俎。
隐居畏人知,好事竟相误。
我来再三叹,空有飞鸿慕。
逝将従之游,不惜烂樵斧。
縱 筆
陸游
莫 笑 畸 翁 迫 耄 期 , 從 來 不 許 俗 人 知 。
繫 船 慣 聽 巴 東 雨 , 畫 策 曾 從 渭 北 師 。
袖 劍 客 同 樓 上 醉 , 爛 柯 人 看 洞 中 棋 。
如 今 更 欲 滄 溟 去 , 鯨 浪 浮 天 信 所 之 。
車 軒 花 時 將 過 感 懷
陸游
小 軒 風 月 得 婆 娑 , 盡 付 流 年 與 嘯 歌 。
細 數 一 春 今 過 半 , 正 令 百 歲 亦 無 多 。
還 家 常 恐 難 全 璧 , 閱 世 深 疑 已 爛 柯 。
只 欲 閉 門 搘 倦 枕 , 晚 風 無 奈 落 花 何 !
寓 歎
陸游
五 福 惟 無 富 , 嗟 予 得 已 多 。
禪 房 時 託 宿 , 酒 市 每 酣 歌 。
瘦 诗 慵 看 鏡 , 棋 鏖 恐 爛 柯 。
殘 年 猶 有 幾 , 切 莫 負 漁 蓑 。
感 興 復 用 鍾 字 韻 戲 呈 同 舍
鄧忠臣
五 年 湘 水 聽 霜 楓 , 長 樂 初 聞 此 夜 鐘 。
遼 鶴 亦 知 華 表 在 , 仙 棋 猶 許 爛 柯 逢 。
蓬 山 道 藏 聊 為 戲 , 石 室 真 游 久 欲 從 。
便 擬 作 歌 招 隱 去 , 人 間 得 意 不 須 濃 。
次 韻 和 臺 源 諸 篇 九 首 ( 之 六 仙 橋 洞 )
黃庭堅
橫 閣 晴 虹 渡 石 溪 , 幾 年 鑰 鎖 鎮 瑤 扉 。
洞 中 日 月 真 長 久 , 世 上 功 名 果 是 非 。
叱 石 元 知 牧 羊 在 , 爛 柯 應 有 看 棋 歸 。
若 逢 白 鶴 來 華 表 , 識 取 當 年 丁 令 威 。
送 張 景 純 知 邵 武 軍 張 , 華 亭 人 , 近 輸 鶴 與 馬 仲 途
梅堯臣
賭 卻 華 亭 鶴 , 圍 棋 未 肯 還 。
方 為 剖 符 守 , 又 近 爛 柯 山 。
魚 稻 荊 楊 下 , 風 煙 楚 越 間 。
小 君 能 賦 詠 , 應 得 助 餘 閑 。
重过三衢哭孙员外
罗隐 唐
烂柯山下忍重到,双桧楼前日欲残。
华屋未移春照灼,故侯何在泪汍澜。
不唯济物工夫大,长忆容才尺度宽。
一恸旁人莫相笑,知音衰尽路行难。
竹溪直院盛称起予草堂诗之善暇日览之多有可
刘克庄 宋
静院闭花时,沉沉昼漏移。
偶然声出户,应是客围棋。
夜寂推枰响,机深落子迟。
恼禅天女去,入定老僧知。
鹄至难传艺,莺啼许借枝。
须臾分局势,何待烂柯为。
沿檄柯山归别张特秀
楼钥 宋
我昔志学年,侍亲宦西安。
弟兄游庠校,见君平生欢。
君才独颖出,逸驾不可攀。
夜窗共檠灯,春游合杯盘。
虚堂卧雪岭,杰阁横云山。
烂柯上危磴,乌巨沿溪湾。
是时气相高,辩论俱澜翻。
一别二十年,天街见峩冠。
殿庐香决科,蓝袍立清班。
黄牒墨犹湿,大弨力能弯。
尔来又五载,短书能几番。
兹焉捧檄来,吏牍方拿烦。
室迩叹人远,一朝脱笼樊。
满意纵剧谈,痛饮到夜阑。
十步九太行,此事亦孔艰。
进哭老先生,画图惨青纶。
特显顾何为,一昔成大还。
回思我伯氏,人琴有余叹。
感今念畴昔,相与涕泪潸。
故人怅无几,恍如春梦残。
有酒不得饮,有琴不成弹。
复归坐冷屋,使我凋朱颜。
我归不可迟,倚门梦连环。
君言欲舂粮,伴我行路难。
欲去不得去,僧坊话閒关。
年各几半百,后会鬓亦斑。
何处更有诗,此心匪石顽。
群忧发孤笑,属联不当悭。
气岸有如君,著身簿尉间。
盐车勿长鸣,会当上天闲。
掺祛不忍别,雨声为潺潺。
君有门户责,殷勤愿加餐。
织锦棋盘
楼钥 宋
锦城巧女费心机,织就一枰如许齐。
仿佛回文仍具体,纵横方罫若分畦。
烂柯未易供仙弈,画纸何须倩老妻。
如欲拈棋轻且称,当求白象与乌犀。
送刘中斋孙归三衢 陆文圭 宋
百花头上和闰手,乃祖声名似孝先。
太息北朝开府老,真成故里烂柯仙。
庆流家嗣承先泽,学到孙枝又一傅。
野叟临岐无别语,勒修世业复青氈。
喜赵宾旸至次韵舟行二首
方回 宋
别后生涯两更微,裹粮东路是耶非。
我才疋马荒山出,公亦轻帆下水飞。
市酤未成投辖饮,閒枰聊解烂柯围。
会须一骋吴山目,同上严家九陇矶。
乐樵吟
金朋说 宋
木美牛山手斧息,烂柯林下度长年。
有时岩底问渔者,利害相论理豁然。
寄康庆之钱塘二首
宋 方回
奕品深参古烂柯,笔踪傍出旧临河。
诗成不觉千篇易,书读曾逾万卷多。
壮士玉关汗血马,美人南国采莲歌。
俊游奇观平生事,将相其如此老何。
棋声
黄庚 宋
何处仙翁爱手谈。时闻剥啄竹林间。
一枰子玉敲云碎,几度午窗惊梦残。
缓着应知心路远,急围不放耳根闲。
烂柯人去收残局。寂寂认亭石几寒。
舟 過 會 稽 山 下 因 繫 舟 遊 近 村 迨 暮 乃 歸
陸游
六 十 齒 髮 衰 , 歲 月 如 逝 波 。
秦 王 酒 甕 邊 , 知 復 幾 經 過 ?
欣 然 捨 畫 楫 , 仄 步 捫 青 蘿 。
一 徑 入 幽 谷 , 四 面 聞 樵 歌 。
白 雲 忽 破 碎 , 翠 木 相 蕩 摩 。
瀲 瀲 春 塘 滿 , 柳 陰 戲 雙 鵝 。
浮 生 百 憂 中 , 此 樂 顧 豈 多 。
日 暮 吾 其 歸 , 已 恐 爛 斧 柯 。
世 上
陸游
世 上 悠 悠 東 逝 波 , 金 丹 將 奈 鬢 絲 何 !
牆 頭 楊 柳 知 秋 早 , 窗 外 芭 蕉 受 雨 多 。
伏 櫪 自 應 如 老 驥 , 還 鄉 元 欲 借 明 駝 。
吾 棋 一 局 千 年 事 , 從 使 旁 觀 爛 斧 柯 。
余 年 四 十 六 入 峽 忽 復 二 十 三 年 感 懷 賦 長 句
陸游
當 年 弔 古 巴 東 峽 , 雪 灑 扁 舟 見 早 梅 。
宋 玉 宅 邊 新 酒 美 , 巫 山 廟 下 暮 猿 哀 。
樵 柯 爛 盡 棋 方 劇 , 客 甑 炊 成 夢 未 回 。
已 把 癡 頑 敵 憂 患 , 不 勞 團 扇 念 寒 灰 。
甲 寅 元 日 予 七 十 矣 酒 間 作 短 歌 示 子 姪 輩
陸游
我 昔 自 蜀 歸 , 百 年 已 過 半 。
觀 棋 未 終 局 , 回 視 斧 柯 爛 。
飽 知 山 林 樂 , 富 貴 何 足 換 。
退 休 失 健 決 , 正 坐 闇 且 懦 。
齒 髮 日 衰 殘 , 歲 月 難 把 玩 。
蕭 朱 尚 或 隙 , 籍 湜 固 宜 畔 。
出 門 無 一 欣 , 撫 事 有 三 歎 。
新 年 遂 七 十 , 推 敬 媿 里 閈 。
眷 眷 惜 茲 夕 , 凜 凜 畏 明 旦 。
豁 然 忽 大 笑 , 愁 若 春 冰 泮 。
窮 達 真 兩 忘 , 生 死 付 一 貫 。
清 尊 既 瀲 灩 , 碩 果 亦 璀 璨 。
擁 門 紛 鼓 笛 , 上 壽 列 童 冠 。
老 翁 亦 忘 疲 , 起 舞 影 零 亂 。
不 獨 誇 癡 頑 , 自 足 洗 患 難 。
投 床 判 宿 酲 , 美 睡 到 日 旰 。
縱 筆
陸游
莫 笑 畸 翁 迫 耄 期 , 從 來 不 許 俗 人 知 。
繫 船 慣 聽 巴 東 雨 , 畫 策 曾 從 渭 北 師 。
袖 劍 客 同 樓 上 醉 , 爛 柯 人 看 洞 中 棋 。
如 今 更 欲 滄 溟 去 , 鯨 浪 浮 天 信 所 之 。
車 軒 花 時 將 過 感 懷
陸游
小 軒 風 月 得 婆 娑 , 盡 付 流 年 與 嘯 歌 。
細 數 一 春 今 過 半 , 正 令 百 歲 亦 無 多 。
還 家 常 恐 難 全 璧 , 閱 世 深 疑 已 爛 柯 。
只 欲 閉 門 搘 倦 枕 , 晚 風 無 奈 落 花 何 !
寓 歎
陸游
五 福 惟 無 富 , 嗟 予 得 已 多 。
禪 房 時 託 宿 , 酒 市 每 酣 歌 。
詩 瘦 慵 看 鏡 , 棋 鏖 恐 爛 柯 。
殘 年 猶 有 幾 , 切 莫 負 漁 蓑 。
道 室 秋 夜
陸游
江 上 窮 秋 日 , 菴 中 獨 夜 時 。
丹 靈 敺 豎 子 , 神 定 出 嬰 兒 。
粱 熟 猶 餘 夢 , 柯 摧 未 畢 棋 。
神 仙 元 可 學 , 往 矣 不 須 疑 。
野 寺
陸游
僧 壁 題 名 半 闕 訛 , 重 來 歎 息 屢 摩 挲 。
林 蟬 欲 斷 暮 復 急 , 竹 露 如 傾 秋 更 多 。
半 俸 漸 償 賒 酒 券 , 故 衫 已 換 釣 魚 蓑 。
西 窗 一 看 枯 棋 罷 , 歸 去 還 憂 爛 斧 柯 。
園 中 把 酒 示 鄰 曲
陸游
畏 途 半 世 困 風 波 , 老 返 家 山 得 已 多 。
野 餉 雖 無 食 指 動 , 村 醅 也 解 醉 顏 酡 。
夢 殘 正 欲 還 君 枕 , 棋 罷 那 知 爛 客 柯 。
松 菊 未 荒 風 月 在 , 應 容 老 子 且 婆 娑 。
對 酒
陸游
社 醅 又 借 醉 顏 酡 , 手 挽 鄰 翁 作 浩 歌 。
江 月 偏 能 照 蓬 戶 , 京 塵 終 不 汙 漁 蓑 。
苦 吟 且 復 欹 吾 帽 , 對 弈 真 當 爛 汝 柯 。
回 首 紛 紛 俱 夢 耳 , 人 間 何 處 有 天 魔 !
道 懷
陸游
織 罷 化 吾 梭 , 棋 終 爛 汝 柯 。
藥 靈 刀 匕 足 , 語 妙 立 談 多 。
楂 浦 吹 橫 笛 , 桐 江 買 短 蓑 。
白 鷗 真 可 友 , 萬 里 渺 煙 波 。
访毛平仲问疾与其子适同游柯山观王质烂柯遗
陆游
篮舆访客过仙村,千载空余一局存。
曳杖不妨呼小友,还家便恐见来孙。
林峦巉绝秋风瘦,楼堞参差暮气昏。
酒美鱼肥吾事毕,一庵那得住云根。
感 興 復 用 鍾 字 韻 戲 呈 同 舍
鄧忠臣
五 年 湘 水 聽 霜 楓 , 長 樂 初 聞 此 夜 鐘 。
遼 鶴 亦 知 華 表 在 , 仙 棋 猶 許 爛 柯 逢 。
蓬 山 道 藏 聊 為 戲 , 石 室 真 游 久 欲 從 。
便 擬 作 歌 招 隱 去 , 人 間 得 意 不 須 濃 。
記 夢
黃庭堅
眾 真 絕 妙 擁 靈 君 , 曉 然 夢 之 非 紛 紜 。
窗 中 遠 山 是 眉 黛 , 席 上 榴 花 皆 舞 裙 。
借 問 琵 琶 得 聞 否 , 靈 君 色 莊 妓 搖 手 。
兩 客 爭 棋 爛 斧 柯 , 一 兒 壞 局 君 不 呵 。
杏 梁 歸 燕 語 空 多 , 奈 此 雲 窗 霧 閣 何 。
觀 崇 德 墨 竹 歌 : ( 并 序 )
姨母崇德君贈新墨竹圖,且令作歌。
黃庭堅
夜 來 北 風 元 自 小 , 何 事 吹 折 青 琅 玕 。
數 枝 灑 落 高 堂 上 , 敗 葉 蕭 蕭 煙 景 寒 。
迺 是 神 工 妙 手 欲 自 試 , 襲 取 天 巧 不 作 難 。
行 看 歎 息 手 摩 拂 ,
落 勢 夭 矯 墨 未 乾 , 往 往 塵 晦 碧 紗 籠 ,
伊 人 或 用 姓 名 通 , 未 必 全 收 俊 偉 功 。
有 能 蓺 事 便 白 首 , 不 免 身 為 老 畫 工 。
豈 如 崇 德 君 , 學 有 古 人 風 。
揮 毫 李 衛 言 神 筆 , 彈 琴 蔡 琰 方 入 室 。
道 韞 九 歲 能 論 詩 , 龍 女 早 年 先 悟 佛 。
弈 棋 樵 客 腐 柯 還 , 吹 笙 仙 子 下 緱 山 。
更 能 遇 物 寫 形 似 , 落 筆 不 待 施 青 丹 。
尤 知 賞 異 老 蒼 節 , 獨 與 長 松 凌 歲 寒 。
世 俗 甯 知 真 與 偽 , 揮 霍 紛 紜 鬼 神 事 。
黃 塵 汙 眼 輕 白 日 , 卷 軸 無 人 得 覘 視 。
見 我 好 吟 愛 畫 勝 他 人 , 直 謂 子 美 當 前 身 。
贈 圖 索 歌 追 故 事 , 才 薄 豈 易 終 斯 文 。
所 愛 子 猷 發 嘉 興 , 不 可 一 日 無 此 君 。
吾 家 書 齋 符 青 壁 , 手 種 蒼 琅 十 數 百 。
一 官 偶 仕 葉 公 城 , 道 遠 莫 致 心 慘 戚 。
我 方 得 此 興 不 孤 , 造 次 卷 置 隨 琴 書 。
思 歸 才 有 故 園 夢 , 便 可 呼 兒 開 此 圖 。
次 韻 和 臺 源 諸 篇 九 首 ( 之 六 仙 橋 洞 )
黃庭堅
橫 閣 晴 虹 渡 石 溪 , 幾 年 鑰 鎖 鎮 瑤 扉 。
洞 中 日 月 真 長 久 , 世 上 功 名 果 是 非 。
叱 石 元 知 牧 羊 在 , 爛 柯 應 有 看 棋 歸 。
若 逢 白 鶴 來 華 表 , 識 取 當 年 丁 令 威 。
送 張 景 純 知 邵 武 軍 張 , 華 亭 人 , 近 輸 鶴 與 馬 仲 途
梅堯臣
賭 卻 華 亭 鶴 , 圍 棋 未 肯 還 。
方 為 剖 符 守 , 又 近 爛 柯 山 。
魚 稻 荊 楊 下 , 風 煙 楚 越 間 。
小 君 能 賦 詠 , 應 得 助 餘 閑 。
用 前 韻 戲 贈 葉 致 遠 直 講
王安石
葉 侯 越 著 姓 , 冑 出 實 楚 葉 。
縉 雲 雖 窮 遠 , 冠 蓋 傳 累 葉 。
心 大 有 所 潛 , 肩 高 未 嘗 脅 。
飄 飄 凌 雲 意 , 強 禦 莫 能 懾 。
辟 雍 海 環 流 , 用 汝 作 舟 楫 。
開 胸 出 妙 義 , 可 發 矇 起 魘 。
詞 如 太 阿 鋒 , 誰 敢 觸 其 鋏 。
聽 之 心 凜 然 , 難 者 口 因 嗋 。
摶 飛 欲 峨 峨 , 鍛 墮 今 跕 跕 。
忘 情 塞 上 馬 , 適 志 夢 中 蝶 。
若 金 靜 無 求 , 在 冶 惟 所 挾 。
載 醪 但 彼 惑 , 饋 漿 非 我 諜 。
經 綸 安 所 施 , 有 寓 聊 自 愜 。
棋 經 看 在 手 , 棋 訣 傳 滿 篋 。
坐 尋 棋 勢 打 , 側 寫 棋 圖 貼 。
攜 持 山 林 屐 , 刺 擿 溝 港 艓 。
一 枰 嘗 自 副 , 當 熱 寧 忘 箑 。
反 嗤 褦 襶 子 , 但 守 一 經 笈 。
亡 羊 等 殘 生 , 朽 筴 何 足 摺 。
歡 然 值 手 敵 , 便 與 對 匕 筴 。
縱 橫 子 墮 局 , 腷 膊 聲 出 堞 。
樵 父 弛 遠 擔 , 牧 奴 停 晏 饁 。
旁 觀 各 技 癢 , 竊 議 兒 女 囁 。
所 矜 在 得 喪 , 聞 此 更 心 惵 。
熟 視 籠 兩 手 , 徐 思 撚 長 鬣 。
微 吟 靜 愔 愔 , 堅 坐 高 帖 帖 。
未 快 巖 谷 叟 , 斧 柯 嘗 爛 浥 。
趨 邊 恥 局 縮 , 穿 腹 愁 危 嶪 。
或 撞 關 以 攻 , 或 覷 眼 而 ★ 。
或 羸 行 伺 擊 , 或 猛 出 追 躡 。
垂 成 忽 破 壞 , 中 斷 俄 連 接 。
或 外 示 閒 暇 , 伐 事 先 和 燮 。
或 冒 突 超 越 , 鼓 行 令 震 疊 。
或 粗 見 形 勢 , 驅 除 令 遠 蹀 。
或 開 拓 疆 境 , 欲 并 包 總 攝 。
或 僅 殘 尺 寸 , 如 黑 子 著 靨 。
或 橫 潰 解 散 , 如 尸 僵 血 喋 。
或 慚 如 告 亡 , 或 喜 如 獻 捷 。
陷 敵 未 甘 虜 , 報 仇 方 借 俠 。
諱 輸 寧 斷 頭 , 悔 誤 乃 批 頰 。
終 朝 已 罷 精 , 既 夜 未 交 睫 。
翻 然 悟 且 嘆 , 此 何 直 劫 劫 。
孟 軻 惡 妨 行 , 陶 侃 懲 廢 業 。
揚 雄 有 前 言 , 韋 曜 存 往 牒 。
晉 臣 抑 帝 手 , 捘 侯 何 啻 涉 。
冶 城 子 爭 道 , 拒 父 乃 如 輒 。
爭 也 實 逆 德 , 豈 如 私 鬥 怯 。
藝 成 況 窮 苦 , 此 殆 天 所 厭 。
如 今 劉 與 李 , 倫 等 安 可 躐 。
試 令 取 一 毫 , 亦 乏 寸 公 鑷 。
以 此 待 君 子 , 未 與 回 參 協 。
操 具 投 諸 江 , 道 耕 而 德 獵 。
呂 希 道 少 卿 松 局 圖
蘇轍
溪 回 山 石 間 , 蒼 松 立 四 五 。
水 深 不 可 涉 , 上 有 橫 橋 渡 。
溪 外 無 居 人 , 磐 石 平 可 住 。
縱 橫 遠 山 出 , 隱 見 雲 日 莫 。
下 有 四 老 人 , 對 局 不 回 顧 。
石 泉 雜 風 松 , 入 耳 如 暴 雨 。
不 聞 人 世 喧 , 自 得 山 中 趣 。
何 人 昔 相 遇 , 圖 畫 入 紈 素 。
塵 埃 依 古 壁 , 永 日 奉 樽 俎 。
隱 居 畏 人 知 , 好 事 竟 相 誤 。
我 來 再 三 嘆 , 空 有 飛 鴻 慕 。
逝 將 從 之 遊 , 不 惜 爛 樵 斧 。
咏围棋
缪鉴 宋
午香帘影静浮华,对面机心万里赊。
夹骑倒戈窥虎穴,乱乌横阵占鸥沙。
当人不让争先着,袖手须饶老作家。
欲访烂柯山下客,洞深春染碧桃花。
游烂柯山
钱顗 宋
春郊杂遝拥红旌,共访仙踪啸傲行。
云径直从深崦入,石梁宛在半空横。
岩边瑶圃新开出,洞里芝田旧种成。
羽客一枰无复见,青山留得烂柯名。
题小桃源
裘万顷 宋
半月池边倚瘦藤,望仙台上岸乌巾。
尘埃一点不到地,花木四时长是春。
载酒岂无好事者,烂柯应有著棋人。
请君更种桃千树,准拟渔郎来问津。
烂柯山二首
释怀古 宋
王质烂柯事,传闻不在疑。
百年容易客,一局等闲棋。
此著有谁见,无言祇自知。
石桥南畔路,依旧日斜晖。
偈烂柯山二首
宋 释怀古
仙家轻岁月,浮世重光阴。
白发有先后,青山无古今。
局终柯已烂,尘散海忧海。
若觅长生路,烟霞无处寻。
颂九十三首
释梵琮 宋
学道先须有指归,闻声见色不思议。
九旬黑白分明处,如似盘中一片棋。
纵横十字,一著当机。
有眼则活,无眼则输。
烂柯山上,空自踌躇。
正好和盘翻却,直教脱尽规模。
解不可得,结亦无拘。
髑髅识尽,江海乾枯。
憍梵波提吐舌,西天胡子无须。
色里胶青只些子,王维妙手亦难图。
浑沦庵成悠然子亲庆因以何字为韵共酌联句
石元规 宋
作室观灵境,功成事若何。
琴书消日月,耕钓老烟萝。
为羡云踪远,时将酒共过。
东岩开玉洞,西涧泻银河。
整佩思天柱,观棋悟烂柯。
真情敦澹薄,世业信蹉跎。
绝迹求无累,澄心到不波。
浑沦某宴息,真率谢浇讹。
尘秽千峰隔,风流万气和。
乾坤堪比寿,乌兔任如梭。
仙至不无谶,鹤来信有他。
煮茶留客话,种药救民痾。
竹露延清荫,兰风动妙歌。
闲寻仙传读,静把玉经科。
在道犹衣袂,嚣尘自纲罗。
有生如石火,移世以灯蛾。
欲入高仙调,母教下鬼唆。
茅檐无一事,时复动吟哦。
偈颂十四首
释印肃 宋
君不见烂柯仙,一局知他几度年。
自出洞来谁作对,未曾学手早赢先。
高不高,玄不玄,默然轻转不能言。
得失都卢无个事,一时收拾华堂前。
若人要问消息,落落真风印碧天。
颂古一百则
释正觉 宋
收尽余怀厌事华,归来何所是生涯。
烂柯樵子疑无路,挂树壶公妙有家。
夜水金波浮桂影,秋风雪阵拥芦花。
寒鱼著底不吞饵,兴尽清歌却转槎。
雪禅人并化主写真求赞
释正觉 宋
山带雪而岁寒,水含月而夜阑。
对机转物,影草探竿。
游刃之牛解,烂柯之局残。
西风雨敛烟云净,
北斗脚垂河汉乾。
禅人并化主写真求赞
释正觉 宋
精神自然,秋早春先。
蟠胸丘壑,绕齿风轻。
理无生而心传阿祖,
神不死而道出诸仙。
苍黄酢酬兮将军齿镞之日,
黑白胜负兮樵子烂柯之年。
禅人并化主写真求赞
释正觉 宋
鼻直口四方,眉低眼三角。
默默句难传,深深谁转脚。
入挂树之壶,天地能阔;
得烂柯之棋,黑白未错。
如今更不囊藏,
到处随宜著落。
禅人并化主写真求赞
释正觉 宋
年齿垂垂,须发丝丝。
月寒无影树,春在未萌枝。
得失折肱塞人马,
输赢烂柯樵子棋。
示现威仪而不起灭尽之定,
不由心念而自然圆明之知。
禅人并化主写真求赞
释正觉 宋
南台之静,中邑之应。
圆明之知,平等之性。
烂柯棋局樵,钓雪华亭艇。
披丛林明白之襟,握云水清凉之柄。
动自风流,閒宜月定。
心闻况是赏音,相廗何妨打令。
禅人并化主写真求赞
释正觉 宋
说通齿豁,宗通句活。
师座心空,劫壶步阔。
就位了无机,烂柯曾有著。
招手相随恁麽来,
百草头边活卓卓。
禅人并化主写真求赞
释正觉 宋
精神矍烁,化工模邈。
我转一机,谁持六鉴。
是非生夺璧之谋,
黑白战烂柯之著。
霁阔而河横,潭空而月落。
禅人并化主写真求赞
释正觉 宋
心空月高,发白雪饶。
气吞百川兮其口如海,
浪卷万里兮其舌翻潮。
一句直指,三乘独超。
忽雷破蛰起平地,
赤脚踏虹登九霄。
影草笑无术,烂柯知有樵。
採药
释善珍 宋
每共樵翁採药归,晚晴荷锸又相随。
行逢流水便乘犊,坐到烂柯因看棋。
鸟踏高枝收坠果,人耕古冢得残碑。
远公幸自逃名好,何必栽莲诳小儿。
七夕呈正仲
舒岳祥 宋
金凤璧月清凉境,红蓼青蘋迤逦秋。
漠漠蛛丝穿露重,微微萤火学星流。
何年才子诬躔象,几度佳人候女牛。
一局烂柯经数代,人间隔岁未悠悠。
游郭希吕石洞二十咏·小烂柯
刘过 宋
游戏一弹棋,岁月驹隙过。
不如两忘机,石上跏趺坐。
从笔一首
刘克庄 宋
邺下徐陈逐逝波,仅留老子尚婆娑。
吾宗世有戴花舞,大耋谁能鼓缶歌。
松下寻常无喝道,花间随处有行窝。
痴人逐物回头少,看到棋终恐烂柯。
汀见二鸥三鹊对立
宋 巩丰
二鸥三鹊羽毛鲜,立在方沙更可怜。
全似烂柯棋势里,白棋初让黑棋先。
次韵徐景说赠安象祖
宋 高斯得
千仞岗头孤凤飞,翰林万族惊且啼。
桐江得树一栖息,足以慰我饥渴思。
飘然径度烂柯去,再仪天陛来何时。
子今追逐一何远,所期不负平生知。
独惭托我非所任,泌水洋洋能疗饥。
夜光明月要人识,而我何知和与隋。
端人择友必有取,定交从此夫何疑。
长安绿槐十二街,五都游客争奔驰。
咄哉掉臂不肯住,来同圣路乘坚肥。
嗟余旧学荒已久,安能扣缶探玄机。
世事举目已可知,淹留此土终何为。
苕溪一曲搅归梦,与子共赋临流诗。
卧云樵者
宋 李吕
山深成独往,伐木声丁丁。
莫作烂柯客,长年玩一枰。
罗浮梁弥仟游烂柯山赠以曲筇方笠
宋 李昴英
葛坡龙竹东坡笠,合伴山人到洞天。
柯烂想应留斧在,凭君试问石桥仙。
东阳郭希吕山园十咏·小烂柯
陈傅良
促膝有仙凡,烂柯无小大。
谁知桃源人,不在秦晋外。
陈傅良(1137—1203)字君举,人称止斋先生,瑞安人。
乾道五年(1169),随薛季宣寄寓江苏常州读书,继承和发扬薛季宣的事功学说,成为南宋永嘉学派承前启后的学者。乾道八年中进士,淳熙三年(1176),被荐为太学录。淳熙十一年任湖南桂阳军知军,候缺期在瑞安仙岩创办书院。淳熙十四年,赴桂阳军任职。并引入温州先进的农业技术,以改变当地落后的生产状况。绍熙四五年间(1193—1194),由于朝廷内部发生矛盾,陈傅良愤而辞官。宁宗即位,召陈傅良任中书舍人兼侍讲。是年被参“庇护辛弃疾,依托朱熹”,罢官回乡。从此不问政事,闭门著述,题居室为“止斋”。
陈傅良学问渊博,著作甚丰,有《止斋文集》五十二卷;《历代兵制》八卷;《春秋后传》十二卷等。嘉泰三年(1203)冬卒于家,终年67岁。
念奴娇
赵佶
雅怀素态,向闲中、天与风流标格。
绿锁窗前湘簟展,终日风清人寂。
玉子声乾,纹楸色净,星点连还直。
跳丸日月,算应局上销得。
全似落浦斜晖,寒鸦游鹭,乱点沙汀碛。
妙算神机,须信道,国手都无勍敌。
玳席欢馀,芸堂香暖,赢取专良夕。
桃园归路,烂柯应笑凡客。
暗香
吴潜
九垓共色。
想洛滨剑客,吹呼长笛。
貏豸老松,别树平欺烂柯折。
应是千官鹤舞,腾贺表、谁家椽笔。
赐宴也,内劝宣来,真个是瑶席。
休怪,巷陌寂。
有一种可人,扫了还积。
悲饥闭户,僵卧袁安我偏忆。
凝望天童列嶂,谁大胆、偷藏遥碧。
待问讯、清友看,怕难认得。
江城子
刘辰翁
书题拂拂洞庭香。
孕云黄。
粲珠光。
唤谪仙人,除是贺知章。
未老得闲闲到老,无一事,和诗忙。
是中曾著老人双。
送千觞。
乐谁妨。
世上输赢,不似烂柯长。
晚入耆英年最少,空结客,少年场。
木兰花慢
张炎
龟峰深处隐,岩壑静、万尘空。
任一路白云,山童休扫,却似崆峒。
只恐烂柯人到,怕光阴、不与世间同。
旋采生枝带叶,微煎石鼎团龙。
从容。
吟啸百年翁。
行乐少扶筇。
向镜水传心,柴桑袖手,门掩清风。
如何晋人去後,好林泉、都在夕阳中。
禅外更无今古,醉归明月千松。
沁园春
无名氏
阊阖初开,羽葆来从,斗畔天南。
看长身玉立,精神耿耿,风姿冰冷,琼佩珊珊。
政数龚黄,才称屈宋,君合居其伯仲间。
犹堪庆,早恩沾令子,新著朝冠。
东园。
未即开藩。
且乡曲吾曹共往还。
向棋边几见,烂柯樵客,琴中时写,流水高山。
野鹤立阶,灵龟支坐,修竹梅花伴岁寒。
荣华事,有传家从橐,立上清班。
声声慢
无名氏
梅黄金重,雨细丝轻,园林雾烟如织。
殿阁风微,帘外燕喧莺寂。
池塘彩鸳戏水,雾荷翻、千点珠滴。
闲昼永,称潇湘竿叟,烂柯仙客。
日午槐阴低转,茶瓯罢、清风顿生双腋。
碾玉盘深,朱李静沈寒碧。
朋侪闲歌白雪,卸巾纱、樽俎狼藉。
有皓月、照黄昏,眠又未得。
朱熹
局上闲争战, 人间任是非。空叫禾樵客, 烂柯不知归。
俞文豹,字文蔚,南宋浙江人,有《清夜录》、《吹剑四录》、《唾玉集》。《睡玉集》云:
蔡州褒信县有一道人,工棋,常饶人先。自为诗曰:“烂柯仙客妙通神,一局曾经几度春,自出洞来无敌手,得饶人处且饶人。”
薛昂夫 (?-约1345),名超吾。回鹘(今新疆)人,维吾尔族。汉姓马,亦称马昂夫,字九皋。曾官三衢路达鲁花赤,晚年退隐杭县(今杭州市东)。善篆书,有诗名。王德渊称他“诗词新严飘逸,如龙驹奋迅,有‘并驱八骑一日千里’之想”。
[双调]蟾宫曲·题烂柯石桥
懒朝元石上围棋。
问仙子何争,樵叟忘归。
洞锁青霞,斧柯已烂,局势犹迷。
恰滚滚桑田浪起,又飘飘沧海尘飞。
恰待持杯,酒未沾唇,日又平西!
明 解缙《观弈棋》
鸡鸭乌鹭玉楸枰,君臣黑白竞输赢。烂柯岁月刀兵见,方圆世界泪皆凝。
河洛千条待整治,吴图万里需修容。何必手谈国家事,忘忧坐隐到天明。
另外一版
木野狐登玉楸枰,乌鹭黑白竞输赢。
烂柯岁月刀兵见,方圆世界泪皆凝。
河洛千条待整治,吴图万里需修容。
何必手谈国家事,忘忧坐隐到天明。
明 米万钟
游姑蔑烂柯山访青霞洞天
日边太末远相悬,游策追攀亦宿缘。
一线有天无径入,三人何处尚名沿。
局中看破俄千古,机外请忘已半仙。
棋畔题诗尽冠盖,闲心若个似樵专。
三访柯山兹始偕,洞天犹自怅游怀。
洞迷石窦无容策,天隘云根未许阶。
古局似妨今眼看,青霞应与俗踪乖。
顾余亦是耽棋者,何事王樵不可侪。
仙山非洞亦非台,复道谁为大小开。
混沌凿穿容地辟,虚空割破引天来。
可能柯烂山仍字,何处青霞境漫猜。
拟向棋边订先着,石枰云古半莓苔。
徐渭 奉侍少保令公驻师三衢,闻闽中寇悉平,因献凯歌四首
万山松柏绕旌旗,太保南征暂驻师。接得羽书知贼破,烂柯山上正围棋。
偏裨结束佩刀弓,道上逢迎秣首红。夜雪不劳元帅入,先擒贼将出洄中。
群凶万队一时平,沧海无波瘴岭清。帐下共推擒虎将,江南只数义乌兵。
帷中谈笑静风尘,只用先锋一两人。万里封侯金印大, 千场博戏彩球新。
http://www.qzcnt.com/detail.php?article_id=6557&article_type=131
平倭奏凯宴烂柯
明代倭寇侵扰我国东南沿海,浙江受害最深。据史书记载,从明洪武二年(1369)到成化二年(1466),约100年间,倭寇侵扰浙江34次,平均3年一次。自嘉靖二年(1523)至万历十六年(1588)60余年中,侵扰浙江66次,平均每年一次。由沿海深入内地,到达永康、淳安一带。所到之处攻城陷所,烧杀劫掠,极为残酷。
浙江军民对倭寇的窜犯进行了英勇的抵抗,特别是嘉靖三十四年抗倭名将戚继光调浙江任参将,兵部尚书胡宗宪任浙江巡按御史,受命总督沿海军务,重用戚继光之策,抗倭战争连连获胜。在嘉兴用毒酒诱杀倭寇数百,在沿海歼灭倭寇徐海、陈东、麻叶等部2万人,1557年诱杀通倭奸商王直。
衢县水陆交通方便,历代海防有时以衢州为指挥中心。元代在衢设有浙东海道肃政廉访司,俗称海道厅(遗址在今中华电影院),专管海防事务。胡宗宪任总督浙、直、福、江军务少保兼太子太保兵部尚书时即坐镇衢州,指挥东南沿海剿灭倭寇事宜。嘉靖四十一年十月,当戚继光率领“戚家军”在福建宁德城外海中捣毁倭寇老巢横屿,取得东南沿海剿倭战争决定性胜利的捷报传到衢州时,兵将情绪高昂。胡宗宪在烂柯山大摆酒席,犒宴全军将士。三巡酒过,军乐大作,气氛十分热烈。胡宗宪即席赋诗《宴烂柯山》,云:“十里云山一径通,天门高敞五云中。披云把酒兴不尽,直上峰头踏玉虹。”著名诗人、画家徐渭(字文长,绍兴人)、沈明臣(字嘉则,鄞县人)同为胡宗宪幕僚,对抗倭战斗多献智策,当时陪宴在侧,即席各赋凯歌:奉侍少保公驻师三衢闽中寇悉平固献凯歌四首。
徐渭诗(四首选三首):“万山松柏绕旌旗,太保南征暂驻师。接得羽书知贼破,烂柯山上正围棋。”“偏裨结束佩刀弓,道上奉迎抹首红。夜雪不劳元帅入,先擒贼将出洄中。”“群凶万队一时平,沧海无波瘴岭清。帐下共推擒虎将,江南只数义乌兵。
沈明臣赋诗四首(现存三四两首):“衔枚夜渡五千兵,密领军符号令明。狭巷短兵相接处,杀人如草不闻声。”“轻裘缓带一跻攀,靖海平蛮指顾问。手自题诗临石壁,烂柯山作燕然山。”
当沈明臣高声吟诵到“狭巷短兵相接处,杀人如草不闻声”时,胡宗宪高兴地离席,手捋长须夸奖道:“何物沈生,雄快乃尔。”遂命将诗刻石置烂柯山留念。此诗碑经400多年风风雨雨,“文化大革命”前洞中尚存有残碑,横3尺余,纵约尺余,每行三四字不等。字约四五寸,行草书,首缺九字,分两行。 (廖元中)
吴承恩
观棋柯烂,伐木丁丁,云边谷口徐行,卖薪沽酒,狂笑自陶情。苍迳秋高,对月枕松根,一觉天明。认旧林,登崖过岭,持斧断枯藤。
收来成一担,行歌市上,易米三升。更无些子争竞,时价平平,不会机谋巧算,没荣辱,恬淡延生。相逢处,非仙即道,静坐讲黄庭。”
李渔
衢游返棹
有句但思留石上 无魂不虑返人间
斧柯未烂归期促 愧从神仙洞里还
自常山至开化道中即事
云雾山中虎豹眠 千年松子大于拳
自从柯烂无人伐 万丈奇杉欲上天
清 胡大川幻想诗十五之二
倒影中间万象呈,思偕列子御风行。上穷碧落三千界,下视中华二百城。
月里求将不死药,洞中观尽烂柯枰。只愁高处清虚极,又惹离愁黯黯生。
题岩崎谷洞 杉听雨
百战无功半岁间
首邱幸得返家山
笑侬向死如仙客
尽日洞中棋响闲
战,指1877年平明治维新元勋西乡隆盛(南州)叛乱之役,称西南之役。
齐天乐 和强村
陈曾寿
百年垂死当何世?因依更成轻别。
费泪园亭,谙愁酒盏,历历前痕难灭。
危云万叠。
剩缄梦凄迷,雁程天阔。
拨尽寒灰,坠欢零落向谁说?
蓬莱旧事漫忆,更罡风激荡,摇撼银阙。
本愿香寒,孤光月隐,堪笑冤禽痴绝!
枯枰坐阅。
拚一往悲凉,烂柯残劫。
自忏三生,佛前心字结。
許宣平
許宣平,新安歙縣人。景雲中,隱城陽山南塢,結庵以居。時或負薪
賣,擔挂一花瓠及曲竹杖,每醉,拄之以歸。嘗於同[9718]華間題詩
傳舍,李白東遊,覽之,曰此仙詩也。及新安,累訪之不得。後咸
通七年,郡人許明奴家有嫗入山採樵,見一人坐石上,食桃甚大,自
稱明奴之祖,即宣平也。與一桃食嫗,嫗後卻食輕健,入山不歸。
葛洪《抱朴子》内篇,卷11,仙药
南阳文氏,说其先祖,汉末大乱,逃去山中,饥困欲死。有一人教之食术,遂不能饥,数十年乃来还乡里,颜色更少,气力胜故。自说在山中时,身轻欲跳,登高履险,历日不极,行冰雪中,了不知寒。常见一高岩上,有数人对坐博戏者,有读书者,俛而视文氏,因闻其相问,言此子中呼上否。其一人答言未可也。术一名山粦,一名山精。故神药经曰:必欲长生,常服山精。

说明书
顾后瞻前判势利,占生测死较锱铢。
世事犹局变幻多,前程可似定石如。
迷悟迟速无顿渐,繁简难易且圆伏。
卷盘变局行圆道,共渡劫波有新途。
黄金等同荒草价,天涯正是比邻处。
橘内丁丁敲枰急,宇寰处处烽烟突。
山中一局棋未了,曾顾樵斧柯烂无。
越南与中国的铜鼓Bronze Drum
(作者置顶)
| http://www.vietnamjournal.org/article.php?sid=12 The Present Echoes of the Ancient Bronze Drum: Nationalism and Archeology in Modern Vietnam and China | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
![]() by Xiaorong Han | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Introduction | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Bronze drums are one of the most important archaeological artifacts to be found in southern China and Southeast Asia. Their use by many ethnic groups in that area has lasted from pre-historical times to the present. Northern Vietnam and southwestern China (especially Yunnan Province and the Guangxi Zhuang Autonomous Region) are the two areas where the majority of bronze drums have been discovered. According to a 1980 report, China has stored about 1460 bronze drums.[1] The Provincial Museum of the Guangxi Zhuang Autonomous Region actually boasts the largest collection of Bronze drums in the world. The total number of bronze drums discovered in Vietnam reached about 360 in the 1980s, among which about 140 were Dong Son drums.[2] The earliest historical records about bronze drums appeared in the Shi Ben, a Chinese book written in the 3rd century BC or earlier. The book is no longer extant, however a small portion of it appears in another classic, theTongdian by Du You.[3] The Hou Han Shu, a Chinese chronicle of the late Han period compiled in the 5th century AD, describes how the Han dynasty general Ma Yuan collected bronze drums from Jiaozhi (northern Vietnam) to melt down and then recast into bronze horses. From that point on, many official and unofficial Chinese historical records contain references to bronze drums. In Vietnam, two 14th century literary works written in Chinese by Vietnamese scholars, the Viet Dien U Linh and the Ling Nam Chich Quai, record many legends about bronze drums. Later works such as the Dai Viet Su Ky Toan Thu, a historical work written in the 15th century, and the Dai Nam Nhat Thong Chi, a book about the historical geography of Vietnam compiled in the late 19th century, also have records about bronze drums.[4] Further, there is also a wooden tablet from the early 19th century found in Vietnam which describes the discovery of some bronze drums.[5] Modern archaeological research on the bronze drum did not begin until the late 19th century, after the arrival of Westerners in the region. Before the 1950s, almost all of the important works on the bronze drum were written by western scholars. Notable works from this period are F. Heger's Alte metalltrommeln aus Sudost Asien (Leipzig, 1902), F. Hirth's Alte bronze Pauken aus Ostasien (Vienna, 1891), A.B. Meyer and W. Foy's Bronze-Pauken aus Sudost-asien (Dresden, 1897), and B. Karlgren's The Date of the Early Dong-son Culture (Bulletin of the Museum of Far Eastern Antiquities, 1942).[6] Due to the social-political circumstances, few Vietnamese scholars were able to engage in research on the bronze drum during those years. In China, a monograph entitled Tonggu kaolue (A Brief Introduction to the Bronze Drum), written by Zheng Shixu, was published in Shanghai in 1936. Although some famous Chinese scholars, such as the historians Xu Songshi and Luo Xianglin, also showed interest in the bronze drum, no other significant Chinese works on bronze drums were produced during that period. After the establishment of the PRC in 1949 and the division of Vietnam in 1954, Vietnamese and Chinese scholars began to dominate research on the bronze drum. In the 1950s and 1960s, many excavation reports and some general studies on the bronze drum were published. However, on the whole, the bronze drum did not attract serious attention in either country. Moreover, although China and Vietnam maintained good bilateral relations during that period, very little academic exchange took place between the bronze drum experts from the two countries. It was not until the mid-1970s, shortly before the break-up of the Sino-Vietnamese alliance, that several important articles began to be published in both countries. The late 1970s and early 1980s then saw the publication of many more books and articles on the topic in both China and Vietnam, and heated debates between Vietnamese and Chinese scholars ensued. In March 1980, the first Chinese symposium on the ancient bronze drum was held in Nanning, the capital city of the Guangxi Zhuang Autonomous Region in southern China. The Chinese Association for Ancient Bronze Drum Studies was formed immediately following the conference. Another symposium was held in Kunming, the provincial capital of Yunnan Province, in late 1984.[7] In 1987, Vietnamese scholars summed up their views in a book called Trong Dong Son (The Dong Son Drum).[8] The following year, the Chinese Association for Ancient Bronze Drum Studies (ZGTY) also completed a conclusive monograph entitled Zhongguo Gudai Tonggu (The Ancient Bronze Drums of China). In October 1988, Vietnamese and Chinese archaeologists finally met at the International Symposium on The Bronze Drum and Bronze Culture of South China and Southeast Asia to discuss their differences. The publication of the above-mentioned two books and this symposium actually put an end to the protracted controversy. Since then, no important works on the bronze drum have been published in either Vietnam or China. The timing of this Vietnamese and Chinese research on the bronze drum indicates much about its political implications. The recent boom in bronze drum research started when Sino-Vietnamese friendship was about to turn sour, and it ended when the two countries were ready to seek a solution for their problematic relations. The political influence on research is also reflected in the issues that the Vietnamese and Chinese archaeologists chose to address in the 1970s and 1980s. While in the previous period, scholars had tended to give more or less equal attention to the classification, dating, origin, functions, and other issues relating to the bronze drum, in the 1970s and 1980s, scholars paid much more attention to the geographic and ethnic origins of the bronze drum than to other issues. Where the first bronze drum was made and who made it were the core issues in the controversy between Chinese and Vietnamese scholars during that period. The answers to these questions seem to have been largely determined by the nationality of the scholars concerned. Hence the Vietnamese scholars unanimously claimed that the bronze drum was invented in the Red and Black River valleys in northern Vietnam by the Lac Viet, the remote ancestors of the Vietnamese people, and then spread to other parts of Southeast Asia and southern China. Meanwhile, Chinese archaeologists declared that the real inventor of the bronze drum was the Pu, an ancient ethnic group who inhabited southern China. Chinese scholars argued that the Pu first made the bronze drum in central Yunnan in southwestern China, and that the technique was then adopted by other ethnic groups living in the surrounding areas, including the Lac Viet in the Red River delta. In this article, I intend to make a brief review of the major works on the bronze drum published in Vietnam and China in the 1970s and 1980s, and will demonstrate how nationalism predetermined the positions of the scholars researching the issue of the origin of the bronze drum. I will also discuss how their theories about the origin of the bronze drum in turn influenced their understanding of other aspects of the bronze drum, such as its typology, dating and decoration. My chief concern here is not to prove which side is right or wrong, but to try to explain why the issue of the origins of the bronze drum became so important to the Vietnamese and Chinese scholars during this period, and why no scholars expressed different views from those of their compatriots. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Classification and Dating | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The most well-known classification of the bronze drum was made by the Austrian archaeologist F. Heger in 1902 in his Alte metalltrommeln aus S?dost Asien. He collected 22 bronze drums and the records or photographs of another 143, which he divided into four types (I, II, III, IV) and three transitory types (I-II, II-IV, I-IV) based on their form, distribution, decoration and chemical composition. He believed that Type I, or the Dong Son drum, as the Vietnamese scholars prefer to call it, which had mostly been found in northern Vietnam by that time, was the earliest.[9] Before the 1950s, some other classifications were proposed, but none of them were as widely adopted as Heger's. Did Heger's classification stand the test of time and the excavation of many more bronze drums? Vietnamese scholars thought that the general framework of Heger's classification was still valid, that it could be modified or expanded, but should not be replaced. Since they continued to use Heger's general framework, Vietnamese scholars did not expend any time on working out new schemes. Instead, they chose to concentrate on the details, with the aim of further proving Heger's classification with new evidence discovered after 1902, and defending him from Chinese attacks. With many more bronze drums in hand, they began to divide each of Heger's types into several sub-types. They focused their efforts on Heger's type I, namely, the Dong Son drum, believed to be the earliest of the various types of bronze drums and which had been mainly found in northern Vietnam. For example, In 1963, Le Van Lan, Pham Van Kinh and Nguyen Linh proposed to subdivide Heger's type I according to the proportion between the diameter of the face and the height of the drum. In 1975, Nguyen Van Huyen and Hoang Vinh subdivided Heger's Type I into three subtypes. In the same year, in an article published in Nhung Phat Hien Moi Ve Kao Co Hoc (the New Archaeological Discoveries), Pham Van Kinh and Quang Van Cay suggested that Heger's type I be subdivided into seven subtypes belonging to four consecutive stages.[10] Tran Manh Phu[11] and Luu Tran Tieu and Nguyen Minh Chuong[12] subdivided it into four subtypes. Chu Van Tan[13] proposed two subtypes with five transitory types. Di ep Dinh Hoa and Pham Minh Huyen[14] suggested seven subtypes. However, the most complicated scheme was proposed by Pham Minh Huyen, Nhuyen Van Huyen and Trinh Sinh, who divided Heger's Type I into six subtypes with 24 styles.[15] Vietnamese scholars paid much more attention to the Dong Son drum than to the other types of bronze drum that Heger had identified. They saw these other types as later in date and thus less related to the Vietnamese people.[16] Therefore, they were much less important than the Type I drums for proving the Vietnamese origin of the bronze drum. The attitude of Chinese archaeologists toward Heger's classification is sharply contrasted with that of Vietnamese scholars. They believed that Heger's classification was so outdated that it necessitate a complete overhaul. After the break-up of bilateral relations, Chinese scholars began to openly criticize Vietnamese scholars for what they saw as blind adherence to Heger's classification for unacademic reasons. As one Chinese book put it, Heger could be forgiven for asserting that the Dong Son drum was the earliest because he did not have enough evidence at that time, but Vietnamese scholars could not be forgiven because they had so much more information than Heger, but still refused to pay due attention to this new evidence.[17] From the 1950s to the 1980s, Chinese scholars strove continuously to make new schemes of classification. In total they made at least seven schemes during those four decades. From the 1950s to the mid 1970s, the Chinese scholars endeavored to reverse the order of Heger's first three types by categorizing the type II as the earliest, and arguing that Heger's type I developed from the type II. 从50年代到70年代中期,中国学者努力颠倒黑格尔前三型的顺序,以II型为最早型,并主张黑格尔I型从II型发展而来。Three out of four classifications made by Chinese scholars during that period did precisely that.[18] Only the Yunnan Provincial Museum[19] continued to support Heger's order.只有云南省博物馆坚持黑格尔的顺序。上述对黑格尔分类体系的修正自然引起越南方面的诸多怀疑。越南学者注意到那时中国只有很少的黑格尔I型鼓,而大部分的黑格尔II型鼓在中国南方的广西北发现。 The above modifications of Heger's classification naturally led to much suspicion from the Vietnamese side. Vietnamese scholars were aware that China had very few of Heger's type I bronze drums at that time, and that the great majority of Heger's type II drums had been discovered in Guangxi in southern China. By the mid to late 1970s, China had discovered many bronze drums believed to belong to Heger's Type I. Moreover, after the excavation of Wanjiaba in Yunnan Province in 1975-1976, Chinese archaeologists believed that they had found the most archaic form of Heger's type I bronze drum. As a result, they began to discard the schemes made by Chinese archaeologists in the previous period and to go back to Heger's classification.结果他们开始放弃前一时期中国考古学家做的体系而回到黑格尔分类。不过加上一个重要的修正:把新发现的万家坝鼓作为最早的鼓置于黑格尔体系之先。 Here, however, they made one important modification: they added the newly-found Wanjiaba drums to Heger's plan as the earliest type. Wang Ningsheng王宁生,[20] Li Weiqing李伟卿[21] and Shi Zhongjian石钟健[22] represented this new revisionist school. This revisionist school maintained the earlier Chinese view that southern China was the place of origin of the bronze drum, yet in their works they differed greatly from the previous classifications in that they took Yunnan, instead of Guangxi, as the specific place of origin of the bronze drum within southern China.这暗示着在广西的中国学者和他们的云南同行之间存在某些分歧。考虑到早先的情形,这分歧并不是新的,那时只有云南博物馆拒绝改定主要发现于广西的黑格尔II型为最早的铜鼓。 This indicated some differences between the Chinese scholars in Guangxi and their colleagues in Yunnan. These differences were not new, considering that among the four classifications made by Chinese scholars between the early 1950s and the mid-1970s, only the one made by the Yunnan Provincial Museum refused to recongnize Heger's type II, which was found mostly in Guangxi, as the earliest bronze drum. It was probably not a coincidence that two of the three scholars, Huang Zengqing and Hong Sheng, who claimed the Guangxi origin of the bronze drum were from Guangxi, the other, Wen You,[2 3] hailing from the neutral ground of Sichuan. Incidentally, two of the scholars who claimed the Yunnan origin of the bronze drum, Wang Ningsheng and Li Weiqing, were from Yunnan, the other, Shi Zhongjian, coming from the neutral ground of Beijing. It was reported in 1982, however, that a majority of Chinese archaeologists had agreed that the bronze drum originated in Yunnan (Shi Zhongjian 1982:203).[24] This implied that there was still a minority that did not agree. The debate with Vietnamese scholars had probably prevented this minority from expressing their views.同越南学者的争论也许压制了少数派表达他们的意见。 By 1995, it was finally announced that Chinese archaeologists had all agreed that the Wanjiaba type bronze drum was the earliest in the world and that Chuxiong楚雄 prefecture in Yunnan, where Wanjiaba is located, is thus the birth place of the bronze drum.[25] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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The Chinese modifications on Heger's classification: | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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*One way to bolster their claims about the origins of the bronze drum was to name each type of bronze drum after the name of the place where it was found. Just as Vietnamese scholars preferred to use Vietnamese place names to name the bronze drum (for example, the Dong Son drum), Chinese scholars also liked to use Chinese place names in their classifications. For example, Shi Zhongjian and the Chinese Association for Ancient Bronze Drum Studies chose the following Chinese place names to designate their eight types of bronze drum: 1. Wanjiaba (Yunnan); 2. Shizhaishan (Yunnan); 3. Lengshuichong (Guangxi); 4. Zunyi (Guizhou); 5. Majiang (Guizhou); 6. Beiliu (Guangxi); 7. Lingshan (Guangxi); 8. Ximeng (Yunnan). The conclusive volume edited by the Chinese Association for Ancient Bronze Drum Studies (ZGTY) followed Shi Zhongjian's classification. Shi was the director of the Board of Directors of the Association at the time of writing and he also wrote the preface to the volume. Vietnamese scholars claimed that the attempts by Chinese archaeologists to reclassify the bronze drums were all groundless. They argued that besides the fact that China had very few of Heger's type I drums, the Chinese had reversed the order of Heger's first three types before the mid-1970s because they believed that the bronze culture in the south could not have developed without the influence of Chinese culture from the north. 他们分辩说除了中国很少有黑格尔I型鼓这个事实外,二十世纪70年代中期以前,中国人颠倒了黑格尔前三个类型的顺序,因为他们相信没有来自中国北方文化的影响,南方的青铜文化不能发展。Heger's type II, the Vietnamese noted, had something which the Chinese were looking for: decorations similar to those found in the Central Plain area of China. 越南人注意到黑格尔II型上有某些东西是中国人所要寻找的:其纹饰与中国中原地区发现的类似。These classifications, just like the widespread belief in premodern China that the bronze drum had been invented by Ma Yuan, the Han general who crushed the Trung sisters' rebellion in Vietnam in 40 AD, and Zhuge Liang, the famous prime minister of the state of Shu during the Three Kingdoms period (220-265 AD),[29] reflected the mentality of Han chauvinism. To Vietnamese scholars, Chinese influences were not indications of an earlier date, but precisely the opposite.[30] The more recent Chinese classifications, which returned to Heger's plan but added the Wanjiaba drums as the earliest type, were based in part on the idea that the form and decoration of the Wanjiaba drums were very simple, and the premise that the simpler the form and decoration, the more archaic the drum would be. Vietnamese scholars believed that this was another misinterpretation. The three principles used by Chinese scholars in their classification, namely, that "the face of the drum grew bigger and bigger, the body of the drum decreased from three to two parts, and the decorations became more and more complex," were considered to be oversimplifications by Vietnamese scholars. 中国学者在他们的分类中使用的三个原则,即“鼓面越来越大,鼓体由三节减少为两节,纹饰越来越复杂”被越南学者认为是过于简单化的。They argued that the simple form and decorations could also be indications of decline, thereby implying that the Wanjiaba drum was not the earliest of the various types of bronze drum, but the latest.[31] Phan Huy Thong was another Vietnamese scholar who argued this point. According to him, drums of the same type were found in Vietnam during the 1930s and had long since been judged to be coarse but late.[32] Thus, in the most complicated Vietnamese classification proposed in Pham Minh Huyen et al. 1987, the Wanjiaba Drum was listed as the fourth subtype of the Dong Son Drum (Heger's type I). The Thuong Nong drum, a Wanjiaba style bronze drum found in Vietnam in the 1980s, was put in the same subtype (see figure I). The aim of all of these classifications was to determine the relative dating of the bronze drums. To date, scholars in the two countries have not found common ground on this issue. The biggest problem concerns the first two types of Heger's classification, which are directly linked to the issue of the origins of the bronze drum. 问题的关键在于黑格尔分类中的前两个类型,它们与铜鼓的起源这一难题直接相关。Since relative dating proved unconvincing to both sides, Chinese and Vietnamese scholars then made attempts at absolute dating. However, this proved to be as controversial as relative dating. The Vietnamese scholar Vu Tang proclaimed in 1974 that he dated one bronze drum to the 13th-10th centuries BCE and another one to the beginning of the late second millenium BCE. This is the earliest absolute dating so far proclaimed for any bronze drum by any scholar. However, this dating later led to much criticism from Chinese scholars, according to whom the method used to date those two drums had been unscientific.[33] The dating of the first drum was based on the motifs of rings and parallel lines, which are believed to be similar to those found on ceramics of that period of time. Apparently, Vietnamese scholars later discarded this dating scheme, as it was not included in Trong Dong Son (The Dong Son Drums), the conclusive volume edited by Pham Minh Huyen et al., and published in 1987. Other Vietnamese scholars believed that the earliest Dong Son drum can be dated alternately to the 7th century BCE;[34] or the 8th century BCE;[35] or sometime before the 7th century BCE.[36] Vietnamese scholars later admitted that it was difficult to reach an exact date for the Dong Son drum because many drums were discovered accidentally, and thus, the sites were not well protected. Further, it is very difficult to find any biological materials that are directly related to the drum to get an absolute date.[37]越南学者后来承认很难得到东山鼓的确切年代。 The earliest C14 date established for a bronze drum excavated in China by Chinese scholars is 2640+- 90 before 1950, or 690 +- 90 BCE.[38] The dating was based on the materials that coexisted with the drum in the tombs. Chinese scholars claimed that this is the earliest credible C14 dating for any bronze drum. They argued that the Wanjiaba type bronze drums were mostly made between the 7th and 5th centuries BCE, and that the Shizhaishan (or Dong Son) type was popular between the 6th century BCE and the 1st century AD, and that the latter was a more developed form of the former (Wang Dadao 1990:536;540).[39] However, according to Vietnamese scholars, this dating is erroneous. Vietnamese archaeologists conducted an experiment on a piece of wood obtained from an excavated coffin and found that the margin of error for such dating could be as much as 235 years. They believed that the Chinese archaeologists deliberately chose that date in order to support their claim about the southern China origin of the bronze drum. 他们认为中国考古学家故意选择这个年代用以支持他们声称的铜鼓起源于中国南方的主张。According to Vietnamese scholars, the dating of bronze drums should not be based solely on C14 statistics, but instead, that other factors should also be taken into consideration. They even went so far as to set an example for the Chinese. A bronze drum was found in an ancient tomb at Viet Khe. C14 dating indicated that the tomb was from 2480+-100 years before 1950AD, or around 530 BCE. However, based on its style, it was decided that the drum could only be dated to the 3rd or 4th centuries BCE.[40] To date, scholars from the two countries have failed to reach common ground regarding absolute dating, just as they have not achieved a consensus on relative dating. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Interpretation of the Decoration | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The decoration of the bronze drum is another major field of controversy between Vietnamese and Chinese scholars.纹饰是另一个主要的争论领域。 纹饰的重要是因为它被认为反映了发明和使用这种鼓的人民的社会和精神生活,并因此有助于判断民族和地理联系。Decoration is important because it is believed to reflect the social and spiritual life of the people who invented and used the drum, and thus, can help determine its ethnic and geographical affiliations. The most popular motifs on the early drums (Heger's first two types plus the Wanjiaba) include various species of birds and other animals, as well as boats, shining entities, and geometrical lines. A flying bird with a long beak and long feet appeared very frequently on the early drums, and a good deal of scholarly attention was devoted toward trying to determine what kind of bird it was. Dao Duy Anh, the Vietnamese historian, believed that it was the legendary "lac bird," the symbol of the ancient Viet people.[41] Dao Tu Khai, however, argued that the bird was not a lac bird because the lac bird was a magpie or some other species whose appearance was rather different from that of the bird on the bronze drum . According to Dao Thu Khai, the bird was instead a heron.[42] Still other scholars argued that the lac bird and the heron were the same.[43] What is more, it was argued that herons lived in every part of Vietnam, and the ancient Viet people regarded it as the symbol of the laborious peasants because it was believed to be diligent. As one Vietnamese scholar put it, " We believe that since the bronze drum is a product of Vietnam made by the Viet people, it should reflect something real in the Vietnamese landscape. The flying bird on bronze drums should be something that the Viet people were very familiar with, and it should have a Vietnamese name. We believe that our interpretation of the bird with its long beak and long feet on bronze drums as a heron is in conformity with the reality of Vietnamese history and culture.[44]" Some western scholars have also suggested a connection between this and other birds on the bronze drum and the Vietnamese identity, however they base their argument on a different logic. For example, according to Taylor (1983:7; 313), the motifs of sea birds and amphibians surrounding boats bearing warriors gave visual form to the idea of an aquatic spirit as the source of political power and legitimacy, which is the earliest hint of the concept of the Vietnamese as a seaborne, distinct, and self-conscious people.[45] ![]() Figure III: Flying Birds on Bronze Drums[46] Most Chinese scholars also believe that the bird is a heron. However, they do not agree that the heron is a symbol of the ancient Vietnamese peasants. Instead, they interpret it more as a result of Chinese influence. They argued that the heron is considered to be the spirit of the drum in the Central Plain of China. This belief first spread to the Chu 楚area in southern China and then reached other ethnic groups living to the south of Chu. According to the Chinese Association of Bronze Drum Studies, "The flying heron is the major motif on Shizhaishan drums (Dong Son drums). There is a long tradition of decorating drums with the motif of herons in the Central Plain. The feather drums excavated from the Chu tombs in Xinyang, Henan and Jiangling, Hubei and the Zenghouyi tomb in Suixian, Hubei are all decorated with the motif of the heron...there is clear evidence to support the idea that the motif of the flying heron on the Shizhaishan drums originated in the Chu area."[47] 中原地区用苍鹭主题装饰鼓有长久的传统。河南信阳和湖北江陵楚墓及湖北随县曾侯乙墓出土的羽饰鼓都装饰苍鹭主题……有明确的证据支持石寨山鼓上的飞鹭源自楚地的观点。 ![]() Figure IV: Frogs or toads on a Dong Son drum[48] In addition to the bird motifs, there are also small three-dimentioned animals on the face of some Dong Son (Shizhaishan) drums and other types of drums which archaeologists had argued are either frogs or toads. Chinese scholars argued that they were frogs and explained them as decorations without special meaning,[49] or something related to the ceremony of rain-seeking, or the frog-worshipping custom, of the ancient Yue people of southern China, a group believed to be related to the ancient Viet people.[50] Edward Schafer (1967:254) agreed that the animals were frogs, "for the drum embodied a frog spirit--that is a spirit of water and rain--and its voice was the booming rumble of the bullfrog." He retold a story of the Tang period recorded in a Chinese source to show that the drum could even take the form of a living frog. According to the story, a frog pursued by a person leaped into a hole, which turned out to be the grave of a Man (barbarian) chieftain containing a bronze drum with a rich green patina, covered with batrachian figures. The bronze drum was believed to be the reincarnation of the frog.[51] Vietnamese scholars initially agreed that the animals were frogs in the 1970's,[52] but later interpreted them as toads because "a widely known popular saying in Vietnam calls the toad 'the uncle of the heavenly god' and maintains that rain will inevitably fall when the toad raises his head and croaks." [53] ![]() ![]() Figure V: Boats on bronze drums[54] The motif of a long boat is another very popular decoration on the surface of the Dong Son (or Shizhaishan) drums. Usually the two ends of the boat are decorated with the head and tail of a bird. In the boat are numerous ornamented human figures. There are fish under the boat and birds around the boat. Following Goloubew, Dao Duy Anh believed this was the "golden boat" described in the belief system of the Dayak people of Kalimantan in Indonesia that carries the spirits of dead people to heaven, which is in turn symbolized by the birds. He further concluded that there was a possible blood relationship between the Dayaks and the Lac Viet, and that the ancient Lac Viet could be the ancestors of the Dayaks.[55] Feng Hanji, a Chinese archaeologist, did not agree. He believed the motif of the long boat was a reflection of the popular custom of boat racing in southern China. According to Feng, the boat does not have an outrigger, thus, it could only have been used in rivers or small inner waters like the Dian Lake. Further, to decorate boats with birds was also an old tradition in China. He also believed that the motif might indicate some connections with the Chu. Ling Shunsheng, a Chinese ethnologist, wrote in 1950 that the motif of the long boat was a direct reflection of the custom of boat racing in ancient Chu.[56] Although legend has it that the custom was to pay tribute to the memory of Qu Yuan, a Chu poet from the 3rd century BC, Ling argued that the custom had an even earlier origin.[57] Chinese scholars later pointed out that the boats on bronze drums were involved in four different kinds of activities which were all popular in ancient southern China, namely, fishing, navigating, boat racing and offering sacrifices to the spirits of the river.[58] Vietnamese scholars later accepted the idea that the motif was about boat racing.竞渡 However, they interpreted it as a part of the ancient Viet ceremony for seeking rain and water求雨.[59] ![]() Figure VI: Shining entities on bronze drums[60] As for the shining entity located in the center of the surface of the bronze drum, some scholars have interpreted this as a star, while others have viewed it as the sun. Vietnamese scholars have taken the position that this reflects the ancient Viet custom of worshipping the sun.[61] Meanwhile, Chinese scholars have argued that many ancient ethnic groups in China, such as the Shang (or Yin), the Chu, and other southern peoples, all worshipped the sun. Moreover, rulers tended to use the sun as a symbol of themselves.[62] The two most common geometric motiffs on bronze drums are believed to represent clouds and thunder, respectively. According to Chinese scholars, the same motifs can be found on the ancient carved-motif pottery of southern China, as well as the bronze wares of the Central Plain. "They [the motifs] prove the uniformity and continuity of the cultural development of ancient southern China and the frequent cultural exchange between southern China and the Central Plain."[63] They also reflect the custom of worshipping clouds and thunder in ancient China. These motifs appear only occasionally on Dong Son drums, but can be frequently seen on Heger's type II drums, most of which have been found in southern China, especially the Guangxi Zhuang Autonomous Region. Vietnamese scholars did not openly object to the Chinese claim that such motifs reflect Chinese influence, however, they strongly rejected the idea that such an influence proves that the bronze culture of the south developed under Chinese influence, and that drums bearing such motifs are the most ancient.[64] 越南学者不直接反对中国人声称的这种云雷纹反映了中国影响,不过他们坚决拒绝这样的观点,说这种影响证明了南方的青铜文化是在中国影响下发展起来的以及说有这种主题的故事最古老的鼓。 In sum, Vietnamese scholars tend to view the decorations of early bronze drums, especially the Dong Son drums, as a reflection of the special cultural characteristics of the ancient Viet people. They believe that the various motifs on the bronze drum describe the various aspects of the life of the ancient agrarian Viet culture of the Dong Son age.[65] They therfore argue that the decorations prove that the Dong Son drum belonged to the ancient Viet people. However, Chinese scholars interpret the decorations as a reflection of the cultural exchange between interior China and China's frontier, arguing that they represent the cultural features of the various peoples living in that area, and not just the Lac Viet. They do not deny the affiliation between the Dong Son drum and the Lac Viet, but they believe the same type of drum was also used by other ancient ethnic groups such as the Dian, the Laojin, the Mimo, the Yelang and the Juding, who are believed to be the relatives of the Lac Viet. They thus contend that the earliest type drum was invented in a region belonging to modern China. According to them, "the Dong Son drum is a developed form of the imported Chinese Shizhaishan drum, which spread from Yunnan to Vietnam along the Red River."[66] Citing both historical records and archaeological findings, Chinese scholars have tried to prove that the earliest drum was invented by the Pu-Liao groups, which included the Dian from the Dian Lake area of Yunnan, the Yeyu and Mifei of the Chuxiong and Erhai areas of Yunnan, the Yelang and Juding of western Guizhou, and the Qiongdu of southwestern Sichuan. 引用历史文献和考古发现为据,中国学者努力证明最早的鼓由濮-僚族群发明,包括云南滇池地区的滇、云南楚雄和洱海地区的叶榆与靡莫(?)、贵州西部的夜郎和句町、以及四川西南部的邛都。 According to Chinese scholars, the bronze drum was first invented by the Pu-Liao people on the eastern Yunnan plateau, and then spread to the surrounding areas.[67] Chinese scholars have proposed that the Lac Viet also belonged to this Pu-Liao group, and have cited the similarities between the Dian culture in Yunnan and the Dong Son culture of Vietnam as evidence.[68] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nationalism and the Bronze Drum | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The functions and the molding methods of the bronze drum also caused much controversy. However, these issues are less related to the origins of the bronze drum, and hence, differences on such issues have been more individual than national. Only in regards to issues that are more relevant to the ethnic and geographical origins of the bronze drum, such as its classification, dating and the interpretation of the decorations, can a clear national difference be discerned. In fact, the issue of the origin of the bronze drum came to resemble a sacred topic in both countries. The scholars in each country debated freely among themselves about many details. For example, there are Vietnamese scholars who support the Chinese claim that the flying bird is a heron, and Chinese scholars who believe that the bird is the totem of the Lac people.[69] However, once the debate touched on the key issue of origin, all scholars took a national stand. Therefore, the Vietnamese scholars who support the heron interpretation do not believe that there is a connection between the heron and the Chinese spirit of the drum, while the Chinese scholars following the Lac bird explanation do not think it has anything to do with the Vietnamese origin of the bronze drum. Hence, they have quarreled freely about the smaller details, but no one has dared to challenge the larger conclusions. The origin of the bronze drum was deemed important by scholars in China and Vietnam during this period of time not only because of its academic significance, but also because of its political value, with the latter probably outweighing the former. To the Chinese and Vietnamese scholars, the bronze drum was not just an archaeological artifact, but more importantly, a crucial part of their national culture and national identity. The sound of the ancient bronze drum stimulated the modern nationalistic nerves of the archaeologists. Communist victory in China and Vietnam brought about a process of reconstructing history in both countries, which was guided by two important principles, Marxism and nationalism. The research of sensitive topics concerning the past relationship between the two countries, such as the issue of the bronze drum, was always permeated by a strong nationalistic spirit. When the two countries enjoyed "comradeship plus brotherhood" (in Chinese, "Tongzhi jia xiongdi") from the 1950s to the mid 1970s, that spirit was covered with a Marxist internationalist coating. Hence, the Vietnamese and Chinese scholars made their own nationalistic claims but never openly accused each other. For example, both Wen You and Dao Duy Anh published their works in the 1950s, Wen was the first Chinese scholar to attempt to modify Heger's classification to propose a China origin of the bronze drum, while Dao made the claim that the bronze drum was invented by the Lac Viet and then spread to some minority areas of Vietnam, southern China and insular Southeast Asia. Their works went unnoticed for about two decades. It was not until the late 1970s that they were accused of mixing academic work with chauvinist or nationalistic agendas. The break-down of Sino-Vietnamese bilateral relations in the late 1970s brought nationalism to the fore in both countries, thereby overriding the internationalism of the previous years. For Vietnamese scholars, an essential part of reconstructing Vietnamese history was to prove the existence of the legendary Van Lang state established by the Hung Kings雄王, which was in turn part of a larger program to prove that the Red River delta was an early center of civilization independent of the north. Their starting point was to establish a direct relationship between the Hung Kings and Dong Son culture, and then to prove that the Dong Son culture was native to northern Vietnam. To do so, they had to prove the native origin of the bronze drum because it is one of the most important artifacts of the Dong Son culture. According to Pham Huy Thong, who wrote the prefaces to the two special issues on bronze drums in the journal Khao Co Hoc (Archaeology ) , "In our process of studying the dawn of human history, namely, the age of the Hung Kings, the artifact that has gradually emerged as the most deserving symbol of the Hung Kings civilization is the bronze drum. More accurately speaking, it is the type I drum among the four types classified by Heger in the beginning of this century".[70] In his work on the bronze drum published posthumously in 1990, he declared that "the Dong son drums were cast on Vietnamese soil by the bearers of the Dong Son culture at the time of state formation. They were the handiwork of the forebears of the present-day Vietnamese, the ancient Viet state builders who were conscious of their ethnic and cultural identity."[71] According to Pham, the idea that the bronze drum was an original and typical artifact of the Dong Son culture was first brought up by the four-volume collective historical work Hung Vuong Duong Nuoc (The Founding of the State by the Hung Kings), published between 1969 and 1971, and that it had then become the foundation on which all further studies of the Dong Son culture were based.[72] A later book about how the Hung Kings built the Vietnamese nation has a picture of a bronze drum on its cover, and lists the bronze drum as the most typical artifact of the Dong Son culture.[73]随后一本关于雄王怎样建立越南国家的书在封面上使用了一张铜鼓图片,并把铜鼓作为东山文化的典型器物。 For Chinese archaeologists, bronze drums served different purposes at different times. 对于中国考古学家不同的时期铜鼓服务于不同的目的。For the older generation of Chinese scholars like Luo Xianglin and Xu Songshi, not only the Han Chinese, but also the various ethnic groups in southern China, were all considered to be branches of the larger Han Chinese race.对于老一辈的中国学者如罗香林和徐松石,不仅汉族,而且中国南方各种族都被看作是大汉族的分支。 They supported Sun Yat-sen's claim that China had only five ethnic groups, namely, Han, Hui (Muslims), Manchus, Mongols, and Tibetans. That classification included most ethnic minorities in southern China in the Han group.[74] 这种分类把南方大部分少数民族贵如汉族。Both Luo and Xu were southerners themselves. To them, the bronze drum served as an indicator of the cultural achievement of the southern Chinese as well as a symbol of southern identity. After 1949, the Chinese government officially identified many southern groups as ethnic minorities independent of the Han, and it encouraged scholars to prove that the minority peoples had their own cultural achievements, and that historically there had been much mutual influence between the Han Chinese and the Southern minorities. As a result, the bronze drum, which was scorned by earlier Chinese scholars because of its "barbarian" origins,[75] was now regarded as one of the most magnificent material relics of the southern minority peoples and the symbol of interior-frontier cultural exchange. The Chinese archaeologist Wen You wrote, "If somebody asks, what is the most important ancient cultural relic of our minority siblings in southern China, we can answer him unhesitatingly that it is the bronze drum." The bronze drum, he further claimed, was the "common treasure of all the people of China".[76] The two authors of an article about the ethnic affiliations of the various types of bronze drum concluded that their study "reflects in a specific aspect the process of ethnic mixture and cultural exchange among the brotherly ethnic groups of China," and "sufficiently proves that the various ethnic groups in southern China, together with other ethnic groups of China, created the great, brillant ancient culture of the Chinese nation."[77] Such expressions are very common among Chinese archaeologists. Moreover, such research might also be related to the construction of local identities, and the expressions of local pride, as evidenced by the subtle differences between the Guangxi and Yunnan scholars on the issue of the origins of the bronze drum. The core issue is that both Vietnamese and Chinese scholars try to make exclusive claims on a tradition that was possibly shared by the ancestors of both the Vietnamese and the minority peoples of southern China. There was no boundary between southern China and northern Vietnam at the time the bronze drum was invented. 在铜鼓产生的时代中国南方和越南北方并不存在界线。Many of the groups living in that vast area were interrelated either biologically, culturally, or both. The people who invented the bronze drum would have had no consciousness of polities such as "Vietnam" or "China," as we do today. It is unfair to impose such modern concepts on ancient peoples and to determine exactly when, where and who invented the bronze drum. Charles Higham, an outsider to these disputes, commented that the nationalistic bias of the Vietnamese and Chinese archaeologists had obscured the situation revealed by archaeology. He hypothesized that the bronze drum was created by the specialized artisans of a cluster of increasingly complex polities that spread across the present day Sino-Vietnamese border to arm the warriors of their polities and signal the high status of their leaders. He concluds: "Seeking the origins of this trend and the associated changes in material culture in one or other particular region misses the point. Changes were taking place across much of what is now southern China and the lower Red River Valley by groups which were exchanging goods and ideas, and responding to the expansion from the north of an aggressive, powerful state."[78] Hence, the theme of the bronze drum could equally make for an excellent story about the cultural coprosperity and unity of the various peoples living in that area. It is interesting to note that in order to prove the indigenous origins of the bronze drum (in either southern China or northern Vietnam), both Vietnamese and Chinese scholars have vehemently denied any possibility of a place of origin outside of the present-day southern China and northern Vietnam landmass. J.D.E. Schmeltz's (1896) theory about the Indian origin of the bronze drum, A.B. Meyer and W. Foy's (1897) theory about the Cambodian origin and R.Heine-Geldern's (1937) theory about the European origins of the Dong Son culture have all been criticised by both Vietnamese and Chinese scholars.[79] In fact, this is probably the only significant common ground for scholars from the two countries about the origin of the bronze drum. The obscurity of the information about the bronze drum is an important element in the whole debate. There are no inscriptions on the bronze drums. The records in Chinese classics about the origins of the bronze drum are not supported by solid evidence and are often contradictory. Modern techniques have also failed to provide hard evidence about its origin. As a result, neither side has been able to persuade the other. All conclusions made about the origin of the bronze drum are more or less speculations, which are the result of limited archaeological information and nationalistic sentiment. In other words, the bronze drum is an artifact ambiguous enough for both sides to render some meaningful interpretation for themselves. The same ambiguity makes it difficult for an outsider to determine who is right and who is wrong.同样的暧昧使外人难以判断谁对谁错。 Largely as a result of improved Sino-Vietnamese bilateral relations, the crossfire between Chinese and Vietnamese scholars over issues surrounding bronze drums has come to an end. However, neither side has changed its stand. They have just set the topic aside, or have made their own claims from time to time without openly accusing the opposite side, a situation similar to that which prevailed in the 1950s and 1960s. Hence, the issue has been suppressed but not solved, and it will probably reemerge under new circumstances. There may be more academic exchanges between Chinese and Vietnamese scholars in the future, and more research on other aspects of the bronze drum may take place as well. However, the views on the origins of the bronze drum held by each respective side are not likely to change in the near future, as it is the result of a tradition that has existed in the two countries for a long time-a tradition of making official history and of using the past to serve the present.两边所持的关于铜鼓起源的观点看来在最近的将来不会改变,因为这是长存于两国的一种传统的结果——一种官方史学和古为今用的传统。 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
References: [1]Zhongguo Gudai Tonggu Yanjiuhui, Zhongguo gudai tonggu (The Ancient Bronze Drums of China), Beijing: Wenwu Press, 1988, 8. Hereafter, ZGTY. According to the book, the numbers of bronze drums stored in various provinces and cities are as follows: Guangxi: 560; Guangdong: 230; Shanghai: 230; Yunnan: 160; Guizhou: 88; Beijing: 84; Sichuan:51; Hunan: 27; Shandong: 8; Hubei: 6; Zhejiang: 6; Liaoning: 4. The total number of bronze drums stored in China remained unchanged in 1995. See Xin Hua News Agency, "Nanfang tonggu wenhua yanjiu you chengguo" (Results have been achieved in the Study of the bronze drums of southern China), January 12, 1995. [2]Nguyen Duy Hinh, "Bronze Drums in Vietnam," The Vietnam Forum, No. 9 (1987) : 4-5; Pham Huy Thong, Dong Son Drums in Vietnam, Hanoi: The Vietnam Social Science Publishing House, 1990, 265. Some more Dong Son drums have been found in Vietnam since then. For example, in 1994, a Dong Son drum later named a Ban Khooc drum was found in Son La Province in northwestern Vietnam. Pham Quoc Quan and Nguyen Van Doan, "Trong Dong Son La" (The Son La Bronze Drum), Khao Co Hoc, No.1 (1996):10. [3]Xu Songshi, Baiyue xiongfeng lingnan tonggu (The Masculine Spirit of the Hundred-Yue and the Bronze Drums of Southern China), Asian Folklore & Social Life Monographs 95, Taibei: The Orient Cultural Service, 1977, 7-8) [4]Nguyen Duy Hinh, "Trong dong trong su sach" (The Bronze Drums in Historical Records), Khao Co Hoc, No. 13 (1974):18-20. [5]Jiang Tingyu, Tonggu shihua (History of the Bronze Drum), Beijing, Wen Wu Press, 1982, 18. [6]For a comprehensive introduction to and list of Western archaeological works on the bronze drum, see, Pham Minh Huyen, Nguyen Van Huyen & Trinh Sinh,Trong Dong Son (The Dong Son Drums), Hanoi: Nha Xuat Ban Khoa Hoc Xa Hoi, 1987, 12-14; 306-309; ZGTY, 10-12. [7]Wenwu Bianji Weiyuanhui (Editorial Board of Cultural Relics), Wenwu kaogu gongzuo shinian: 1979-1989 (A Decade of Work in the Field of Cultural Relics and Archaeology: 1979-1989), Beijing, Wenwu Press, 1990, 376;380. [9]Pham Minh Huyen et al., 19-21; ZGTY, 10-11. [10]Pham Minh Huyen et al., 21-22. [11]Tran Manh Phu, "Thu chia nhom nhung trong dong loai I Hego phat hien o Viet Nam" (The Classification of Heger's Type I Bronze Drums Discovered in Vietnam), Khao Co Hoc, No. 13 (1974): 83-94. [12]Luu Tran Tieu & Nguyen Minh Chuong, "Nien dai trong Dong Son" (The Dating of the Dong Son Drums), Khao Co Hoc, No. 13 (1974): 117-121. [13]Chu Van Tan, "Nien dai trong Dong Son" (The Dating of the Dong Son Drum),Khao Co Hoc, No. 13 (1974): 106-116. [14]Diep Dinh Hoa & Pham Minh Huyen, "Ve viec chia loai trong loai I Hego va moi quan he giua loai trong nay voi cac loai trong khac" (The Classification of Heger's Type I Bronze Drums and Its Relationship with Other Types of Bronze Drum), Khao Co Hoc, No. 13 (1974) :126-134. [15]Pham Minh Huyen et al., 23-34; 120-123. [16]For example, Heger's type II were mostly found in southern China and among the Muong minority of Vietnam; type III existed in Burma and southern China but not in Vietnam; type IV were believed to exist in southern China only.Pham Huy Thong, "Trong Dong" (The Bronze Drum), Khao Co Hoc, No. 13(1974): 9-11. It was reported in the 1980s that 14 type III drums and 6 type IV drums had been found in Vietnam. Nguyen Duy Hinh, 4. [17]ZGTY, 12. [18]Wen You闻宥,Gu tonggu tulu (Collected Pictures of the Ancient Bronze Drums), Beijing: Zhongguo gudian yishu Press, 1957; Huang Zengqing黄增庆, "Guangxi tonggu chutan" (The Bronze Drums of Guangxi), Kaogu, No. 11 (1964); Hong Sheng洪声, "Guangxi gudai tonggu yanjiu" (The Ancient Bronze Drums in Guangxi), Kaogu Xuebao, No. 1 ( 1974 ): 45-90. [19]Quoted from Li Weiqing, "Zhongguo nanfang tonggu de fenlei he duandai" (The Classification and Dating of the Bronze Drums of Southern China),Kaogu, No. 1 (1979): 66-78. [20]Wang Ningsheng, "Shilun zhongguo gudai tonggu" (On the Ancient Bronze Drums of China),Kaogu Xuebao, No.2 (1978). In Wang Ningsheng, Minzu kaoguxue lunji (Collected Eaasys on Ethnoarchaeology), Beijing: Wenwu Press, 1989, 277-306. [21]Li Weiqing, 66-78. [22]Shi Zhongjian, "Ancient Bronze Drums," China Pictorial, No.10 (1983):24-25. [23]Wen You worked in Sichuan as a University professor for more than ten years before he moved to Beijing in the mid-1950s. He wrote in 1956 that he first became interested in the bronze drum when he saw a beautiful bronze drum in Hanoi more than a decade earlier. Wen You, preface. [24]Shi Zhongjian, "Shizheng Yue yu Luoyue chuzi tongyuan" (On the Common Origin of the Yue [Viet] and Luoyue [Lac Viet)], in Baiyue minzushi yanjiuhui, ed., Baiyue minzushi lunji, Beijing: China Social Science Press, 1982, 203. [25]Xin Hua News Agency, 1995, 1,12. [26]ZGTY. [27]Pham Huy Thong (1990). [28]ZGTY; Pham Huy Thong (1990). [29]Fan Chengda, a scholar-official of the Song Dynasty (960-1279 AD) first suggested that the bronze drum was invented by Ma Yuan. A scholar in the Ming dynasty (1368-1644) first recorded that the big bronze drum was invented by Ma Yuan, and the small one by Zhuge Liang. F. Hirth tried to prove these stories in two articles published in 1898 and 1904. Zheng Shixu (Cheng Shih-hsu),Tonggu kaolue (A Study of the Bronze Drum), Shanghai: Shanghai Museum, 1936, 3-5; 14; 33-37. Today, however, nobody follows these ideas anymore. [30]Nguyen Duy Hinh, "Ve guan diem cua mot so hoc gia Trung Quoc nghien cuu trong dong nguoi Viet" (A Review of the Views of Some Chinese Scholars on the Bronze Drums of the Vietnamese People), Khao Co Hoc, No. 4 (1979): 17-19. [31]Nguyen Duy Hinh (1979), 21; Chu Van Tan, "Phai chang ho da tim thay trong X?"(Have They Discovered Drum X?), Khao Co Hoc, No. 9 (1982): 33. [32]Pham Huy Thong (1990), 269. [33]Tong Enzheng, "Shilun zaoqi tonggu" (On the Early Bronze Drums), Kaogu Xuebao, No. 3 (1983). In Tong Enzheng, Zhongguo xinan minzu kaogu lunwenji (Collected Essays on the Ethnoarchaeology of Southwestern China), Beijing: Wenwu Press, 1990, 163-185. [34]Nguyen Van Huyen, "Tu chia loai nhom den tim hieu nien dai va que huong cua trong dong co" (From the Classification and Sub-classification of the Ancient Bronze Drums to the Understanding of their Dating and Origins), Khao Co Hoc, No. 13 (1974); Chu Van Tan 91974). [35]Diep Dinh Hoa & Pham Minh Huyen. [36]Luu Tran Tieu & Nguyen Minh Chuong. [37]Pham Minh Huyen et al., 1987:216-217. [38]ZGTY, 110. [39]Wang Dadao, "Yunnan qingtong wenhua jichi yu Yuenan Dongshan wenhua, Taiguo Banching wenhua de guanxi" (The Bronze Culture of Yunnan and its relations with the Dong Son Culture of Vietnam and the Ban Chiang Culture of Thailand), Kaogu , No. 6 (1990), 536;540. [40]Chu Van Tan (1982), 30;32. [41]Quoted from Dao Tu Khai, "Chim Lac hay con co? Ngoi sao hay mat troi?"(Lac Bird or Heron? Star or Sun?), Khao Co Hoc, No.14 (1974 ): 27. [42]Dao Tu Khai, 27. [43]Vu The Long, "Hinh va tuong dong vat tren trong va cac do dong Dong Son" (The Motifs and Figurines of Animals on Drums and Other Dongsonian Bronze Artifacts), Khao Co Hoc, No. 14 (1974): 9. [44]Dao Tu Khai, 28-29. [45]Taylor Keith Weller,The Birth of Vietnam, Berkeley: University of California Press, 1983, 7;313. [46]ZGTY, 157. [47]ZGTY 1988:233. [48]Pham Huy Thong (1990). [49]Wen You. [50]ZGTY, 160-161. [51]Schafer Edward,The Vermilion Bird, Berkeley: University of California Press, 1967, 254. [52]Vu The Long, 17. [53]Pham Huy Thong, (1990), 268. [54]Tong Enzheng, 178. [55]Quoted from Chen Guoqiang, Jiang Binzhao, Wu Mianqi & Xing Tucheng, eds., Baiyue minzu shi (A History of the Hundred-Yue), Beijing: China Social Science Press, 1988, 335. [56]Feng Hanji, "Yunnan jinning chutu tonggu yanjiu" (A Study of the Bronze Drums of Jinning, Yunnan),Wen Wu, No. 1(1974): 56-58. [57]Ling Chunsheng, "Ji benxiao er tonggu jianluan tonggu de qiyuan he fenbu" (On the Two Bronze Drums Stored at National Taiwan University and the Origin and Distribution of the Bronze Drums),Guoli Taiwan daxue xuebao, No. 1 (1950). [58]ZGTY, 175-181. [59]Pham Minh Huyen et al, 239. [60]ZGTY, 152. [61]Dao Tu Khai, 30. [62]ZGTY, 151. [63]ZGTY, 154. [64]Nguyen Duy Hinh (1979), 23. [65]Tran Quoc Vuong, "Trong dong va tam thuc Viet co" (The Bronze Drum and the Mentality of the Ancient Viet People), Khao Co Hoc, No. 3 (1982): 25; Dao Tui Khai, 28-29. [66]ZGTY, 127-129. [67]Wang Ningsheng, 305; Tong Enzheng, 181. [68]Tong Enzheng, 173-174. [69]Shi Zhongjian (1982), 194. [70]Pham Huy Thong, "Trong Dong" (The Bronze Drum), Khao Co Hoc, No.13 (1974), 9. [71]Phan Huy Thong (1990), 262. [72]Phan Huy Thong (1990), 264. [73]So Van Hoa-Thong Tin Vinh Phu, Cac Vua Hung da co cong dung nuoc..., Tap luan van ky niem 30 nam nhay Bac Ho den tham Den Hung: 19-9-1954--19-9--1984. (The Hung Kings have contributed to building our nation), Vinh Phu, 1985. [74]Luo Xianglin, Zhongxia xitong zhi Baiyue (The Hundred-Yue as a Branch of the Chinese Race), Chongqing: Duli Press, 1943, 1-2; Xu Songshi, 96-97. [75]For example, Wen You lamented that traditional Chinese scholars before the Qing dynasty seldom paid serious attention to the bronze drum because it did not have inscriptions and that it was made by the "barbarians." During the Qing dynasty, However, more attention was paid to the bronze drum and several books were produced. Wen attributed this to the myth about Ma Yuan and Zhuge Liang creating the bronze drum that gradually became popular in China after the Song dynasty. Wen You, preface. [76]Wen You, preface. [77]Li Weiqing & Xi Keding, "Shi tan zhong guo nan fang tong gu de zu shu" (An Inquiry into the Ethnic Affiliations of the Bronze Drums of Southern China) in Xi nan min zu yan jiu (Studies on the Ethnic Groups of Southwestern China), Chengdu: Sichuan Minzu Press, 1983, 427. [78]Higham Charles,The Bronze Age of Southeast Asia, Cambridge: Cambridge University Press, 1996, 134. [79]ZGTY, 10-11; Pham Huy Thong (1990), 263-264. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Dr. Xiaorong Han teaches at the University of Hawaii-West Oahu. His research interests include: Peasants and Ethnic Minorities, Modern China and Southeast Asia; Nationalist and Communist Movements, Modern East and Southeast Asia; Sino-Vietnamese Relations: Past and Present; General and Comparative History, East and Southeast Asia. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
扶桑国的婿屋
(作者置顶)
吕思勉支持扶桑国墨西哥说,他在《中国民族史》论《梁书》关于扶桑国的记载云: “乙祁、对卢之名,皆与高丽同。而婿往女家门外作屋,亦与高丽婿屋之制相类。扶桑必为貉族人之浮海而东者矣。”(《中国民族史》,第131页,中国大百科全书出版社,1987年。)
《三国魏志》卷30东夷传高丽篇:“其俗作婚姻,言语已定,女家作小屋於大屋后,名婿屋,婿暮至女家户外,自名跪拜,乞得就女宿,如是者再三,女父母乃听使就小屋中宿,傍顿钱帛,至生子已长大,乃将妇归家。其俗淫。”
《梁书》的有关记载以前被认为全出自慧深,实为误解。http://ydwq3613.bokee.com/2703970.html
最早的误读见于《通典》。
http://ydwq3613.bokee.com/5135225.html
《梁书》原来明确交待将两位到达扶桑国的沙门的记载合并叙述。本人考定,俩人到的扶桑国一南一北,并非一地。慧深所到当在伊里安岛,无名沙门所到当在东西伯利亚。
慧深到的扶桑国与女国
(作者置顶)
错误不少,请勿转抄
批评批判,明示为要
慧深到的扶桑国与女国
一、 扶桑国问题的由来
1752年,法国学者歧尼(金尼、德经,De Guingnes)从中国古文献中得到一个新奇的“发现”。这年8月28日,他写信给在北京的耶稣会士宋君荣(le P.Gaubil),提到他认为《文献通考》中记载的中国南北朝时佛教僧侣慧深到的扶桑国在今墨西哥。1761年,歧尼发表《中国人之美洲海岸航行及住居亚洲远东之民族的研究》。《文献通考》(卷237)的记载本自《南史》、《梁书》等,在中国人来说是再普通不过的史料。而慧深到美洲成为世界交通史的大问题则始于歧尼,引发的争论持续至今。甚至在歧尼文章发表以前,宋君荣在回信中已经作了批驳。
歧尼认为:(1)倭国即日本,倭国东北七千余里,即虾夷人(Aino)所住。其俗鲸面文身,故称文身国。文身国东五千余里,叫大汉国,为现在的堪察加半岛(Kamchatka)。更向东二万余里,地在中国之东,叫做扶桑国,这不得不在北美地方。就所记物产看,大致和北美洲尤其是墨西哥相一致。(2)从日本北海道经千岛,沿堪察加半岛海岸,穿过阿留申群岛(Aleutian),到达北美洲的西北部,就是坐小船也能达到,尤其当海潮有利时。(3)美洲的文化,先从西海岸发达。有许多证据表明受对岸亚洲大陆的影响。
1831年,德国学者克拉卜落特(Klaproth)发表《关于中国文献中所载之扶桑国竟被误认为美洲一部之说的研究》。他否认扶桑国美洲说的最大理由是,根据中国文献,扶桑国有马,有葡萄,而美洲并没有这些动植物。他认为,倭国为日本,文身国为虾夷地方,与歧尼相同。但他认为大汉国不在堪察加而为桦太岛(日语库页岛的名字,俄语萨哈林),从倭国经文身国至大汉国,路程是从日本沿北海道西海岸航行,反之从大汉国至扶桑国的路程,则是从北海道沿东海岸南下航行,因此,他将扶桑国定在日本的东南部。
赞成歧尼说的以文宁(Edward P.Vining)影响最大。他1885年出版的《无名的哥伦布或慧深与阿富汗族之佛教团于五世纪发现美洲之证据》,囊括了1761年以来该问题上的重要学说,全书约800页。至今仍有新版发行。文宁以《梁书》的倭国为日本,倭国东北七千余里的文身国为阿留申群岛爱斯基摩人(Eskimo)地方。文身国东五千里为大汉国,为阿拉斯加(Alaska)地方。从阿拉斯加向东(东南)二万余里、当中国(以荆州为中心的中国中部)之东的扶桑国,无论从距离、从方位看,都可推出此地为墨西哥地方。加之《梁书》所栽扶桑国的风俗、物产,大致皆与古代墨西哥相同。
荷兰莱登大学中国语言文学教授希勒格(Gustave Schlegel)曾在1870年《关于中国和日本的纪录和质疑》杂志中建议,搜集散见于中国书籍中所有扶桑一地的材料,以决定扶桑的位置。他于1892年发表《扶桑国考证一篇》。(冯承钧译见《中国史乘中未详诸国考》,1928,商务印书馆)他主张扶桑在桦太岛。由于方法的进步,希氏的桦太说成为墨西哥说反对者中最强大的声音。1
1940年商务印书馆出版朱谦之先生《扶桑国考证》。由扶桑史料的系统及演变的分析入手,认为墨西哥说依据的是正史系统,桦太说主要依据野史系统,如《山海经》、《海外十洲记》等。后者最终演变为以日本为扶桑。结合人、地、事的证明,应否定桦太说,肯定墨西哥说。
中国学者,章太炎、朱谦之、吕思勉和影响最广的马南邨(邓拓)等支持墨西哥说,罗荣渠则对墨西哥说持强烈的批评态度。
我因为对荆楚历史地理的学习,对南北朝以前的计里标准问题多有留心。《梁书·东夷传》记载,从带方郡(平壤、首尔之间)到倭国一万二千余里,大半即七千余里是沿朝鲜半岛海岸线曲折而行。其中的里数标准一直是我心中的一个疑惑。又因为对民族史的特别关注,我经常审视这条史料,2002年,我意识到该传中的女国篇记录了世界珍稀动物——澳洲的鸭嘴兽。进而写成《第一个到达澳洲的中国人——慧深》一文,应邀登发在《学说连线网》上,修改后发表在《武汉学刊》2005年第二期上。我认为慧深称为扶桑国的地方实际上包括多扶桑木的巴布亚新几内亚(伊里安岛,Papua or Irian)和有马、牛、鹿三种力畜的东西伯利亚(Siberia)古貉族人居地,慧深从南、北两个方向对极东进行了实地探查。然而,深入的思考使我意识到,问题远没有解决,特别是当我发现《梁书》的“扶桑国”篇出自两位探险者之手时。今缩小论题,对慧深到的扶桑国和女国作更深入的探讨。
二、关于扶桑和扶桑木的叙述模式
扶桑本是古神话传说中的地方,见于《山海经》等书。其地因为神话中太阳凭以上下的扶桑木得名,因此扶桑作为地名通常泛指东方距中国遥远的地域。
南北朝时北魏在首都置四夷馆,作为安置投附的四夷之人居住之所。《洛阳伽蓝记》卷3“宣阳门外四里”条记载了有关四夷馆的情况。当时南方吴人来附者处金陵馆,北夷来附者处燕然馆,西夷来附者处崦嵫馆,东夷来附者处扶桑馆。这里的扶桑泛指东方所有少数民族以及外国地区。其义即源自日出扶桑,与日落崦嵫相对。南朝齐皇室萧子显在梁时著的《南齐书•东南夷传赞》云:“东夷海外,碣石、扶桑。南域憬远,极泛溟沧。”这里的扶桑与溟沧一样代指距中国遥远的地域,不是实指,其用法与“扶桑馆”的类似。
《梁书•东夷传》记载了具体的扶桑国及其东邻女国。《梁书·东夷传·序》云:“扶桑国,在昔未闻也。普通中(520~527年),有道人称自彼而至,其言原本尤悉,故并录焉。”《传》文云:
扶桑国者,齐永元元年(499年),其国有沙门慧深来至荆州,说云:“扶桑在大汉国东二万余里,地在中国之东,其土多扶桑木,故以为名。”扶桑叶似桐,而初生如笋,国人食之,实如梨而赤,绩其皮为布以为衣,亦以为绵。作板屋,无城郭。有文字,以扶桑皮为纸。无兵甲,不攻战。其国法,有南北狱。若犯轻者入南狱,重罪者入北狱。有赦则赦南狱,不赦北狱。在北狱者,男女相配,生男八岁为奴,生女九岁为婢。犯罪之身,至死不出。贵人有罪,国乃大会,坐罪人于坑,对之宴饮,分诀若死别焉。以灰绕之,其一重则一身屏退,二重则及子孙,三重则及七世。名国王为乙祁;贵人第一者为大对卢,第二者为小对卢,第三者为纳咄沙。国王行有鼓角导从。其衣色随年改易,甲乙年青,丙丁年赤,戊己年黄,庚辛年白,壬癸年黑。有牛角甚长,以角载物,至胜二十斛。车有马车、牛车、鹿车。国人养鹿,如中国畜牛,以乳为酪。有桑、梨,经年不坏。多蒲桃。其地无铁有铜,不贵金银。市无租估。其婚姻,婿往女家门外作屋,晨夕洒扫,经年而女不悦,即驱之,相悦乃成婚。婚礼大抵与中国同。亲丧,七日不食;祖父母丧,五日不食;兄弟伯叔姑姊妹,三日不食。设灵为神像,朝夕拜奠,不制缞绖。嗣王立,三年不视国事。其俗旧无佛法,宋大明二年(458年),罽宾国尝有比丘五人至其国,流通佛法、经像,教令出家,风俗遂改。
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,身体有毛,发长委地。至二、三月,竞入水则任娠,六七月产子。女人胸前无乳,项后生毛,根白,毛中有汁,以乳子,一百日能行,三四年则成人矣。见人惊避,偏畏丈夫。食咸草如禽兽。咸草叶似邪蒿,而气香味咸。”天监六年(507年),有晋安人渡海,为风所飘至一岛,登岸,有人居止。女则如中国,而言语不可晓;男则人身而狗头,其声如吠。其食有小豆,其衣如布。筑土为墙,其形圆,其户如窦云。
《序》和《传》提到了两个不同的年代。虽然围绕慧深是否到过美洲的争论是长期而广泛的,但迄今为止,未见有人对《梁书·东夷传》有关扶桑国的记录中提到的从扶桑国来的沙门到达中国的两个不同的年代作出解释。
《传》文说:“扶桑国者,齐永元元年(499年),其国有沙门慧深来至荆州”;《序》文说:“扶桑国,在昔未闻也。普通中(520~527年),有道人称自彼而至,其言原本尤悉,故并录焉。”如果这两个年代都说的是慧深到达中国的时间,它们无疑是自相矛盾的。忽视这一矛盾讨论慧深到的扶桑国的位置出现了尖锐对立的不同意见,谁也说服不了谁,或者说每种意见都有严重的缺陷。这就有必要换一角度来审视史料:以往对源于《梁书》的扶桑史料的解读可能正是因为严重的误读才出现意见尖锐对立的现象,而对年代矛盾作出解释有可能揭示症结所在。
忽略年代矛盾不始于歧尼,中国的史学名著《通典》中已然。《通典·边防典二》(卷186)载扶桑国之文云:
扶桑,南齐时闻焉。废帝永元初,其国有沙门慧深来至荆州,说云:扶桑在大汉国东二万余里,地在中国之东。其土多扶桑木,叶似桐,初生如頾,国人食之。实如梨而赤。绩其皮为布以为衣,亦为锦。……
《通典》省去了《梁书》和《南史》《东夷传·序》中提到的普通中这个年号,这可能对后来的研究者对这一年代的普遍忽视有影响。
回到《梁书》和《南史》,仔细考虑两个年代。如果必须忽略其中的一个,意味着该年代的记录是一个错误 。然而《通典》对被忽略的年代并无说明。对这个年代另作解读是必须的。
同一传的两个年代,一般的理解自然是对两个事件的记载。回到常识,可以看到,原来《梁书》和《南史》讲的本是两位从扶桑国归来的僧人的事。
《序》文说:“扶桑国,在昔未闻也。”《传》文说:“扶桑国者,齐永元元年(499年),其国有沙门慧深来至荆州”。《序》文接着提到:“普通中(520~527年),有道人称自彼而至,其言原本尤悉,故并录焉。”把普通中自称从扶桑国来的僧人理解为慧深之外的另一位无名的探险者,那么势必会对《梁书》的叙事脉络做出同以往截然不同的判断,进而对《传》中提到的人、地、事做出迥异以往的解读。
首先,《序》文的前两句话应理解为对两位探险者所做介绍的提要和特点提示:第一句说的是慧深,指出,慧深是第一个向中国人介绍真实的扶桑国的人;第二句说的是无名僧人(以下简称“无名”),他关于扶桑国的介绍特别详细;第三句话是说明编撰方法:把两个人关于扶桑的介绍合并一起。
旧的解释将全部记载归在慧深一人名下,序文的“故并录焉”,只能理解为:“将慧深的介绍原原本本地全部抄录下来”。果真如此,作为后来研究的最终结果,扶桑国将指向某一特定的位置。然而,自1752年歧尼提出扶桑国在墨西哥以来,歧见叠出,迄无定论。而考虑《梁书》记载出自两人,且两人到的扶桑国可以是两个不同的地方,那么到目前为止,扶桑国定位问题上众说纷纭、莫衷一是的状况可得到一个解释:以前的研究可能都把两处扶桑国解释为一处,因此将永远得不到正解。
扶桑成为遥远东方的代称,是因为日出扶桑这个及其古老的神话。神话认为,太阳经由扶桑木登上天空,扶桑木所处的就是极东。自《离骚》以降,至魏晋南北朝,诗文歌赋中有关扶桑的内容不少。基本上是用日出扶桑之典。较特殊的是托为汉代齐人东方朔著的《十洲记》,其文云:
扶桑在东海之东岸,岸直。陆行登岸一万里,东复有碧海,海广狭浩汗,与东海等。水既不咸苦,正作碧色,甘味香美。扶桑在碧海之中,地方万里,上有太帝宫,太真东王父所治处。地多林木,叶皆如桑,又有椹。树长数千丈,大二千余围。树两两同根偶生,更相依倚,是以名为扶桑。仙人食其椹,一体皆作金光色,飞翔空立。其树虽大,其叶椹故如中夏之桑也。但椹稀而叶赤,九千岁一生实耳。
《十洲记》继承了战国时邹衍的大九州理论,其宇宙模型属于平天说或盖天说,这类模型中,天与地是分离的,没有连通天地,供太阳升降的扶桑、若木存在的余地,另一方面,它也不能象地圆学说那样对东极做出更合理的解释,因此《十洲记》仍然保留了用扶桑和扶桑木神话解释未知的现实世界之极东的内容,但为使古神话适应新的宇宙模型对它作了修改,扶桑木不再是太阳由之升上天空的神木,虽然仍处于极东,但已是仙人食用其果的仙树。
在有明确的地球概念以前,由于人类活动能力的有限,东极始终是令人迷茫的,因此不管在哪种宇宙模型下,对东极的描述都未能跳出古来解释性神话的窠臼。论东极必称扶桑,称扶桑必言扶桑木,这在汉字文化圈中已是一种固定的解释模式。
有关东极或扶桑以及扶桑木的描述总的说是推测性的,但是这种推测有其基础,其基础一是对宇宙模型的构想或托为神话的解释性描述,一是沿海居民对东方遥远地区的真实认识。齐鲁、吴越等地的方士无疑对这类知识的系统化起过重大的作用。由于他们的解释有仙话性质,往往显得不严谨,甚至不严肃。但这类著作具有宇宙解释的主旨,又具有部分现实的基础,因而能有力地影响后世的探险实践者和史书著述者对扶桑的论述。亲历东方的探险者,会比一般人更多、更深入地思考东极问题,但取得大的理论突破的可能性仍然受到现实条件的限制,他们将书籍中带幻想性的扶桑木同现实世界的真实植物对照,而对现实植物所做的描述则会有较大的机会改变人们对扶桑木的认识,或使人们对扶桑木的认识更增歧见。
慧深把他所到的他认为此前中国人未曾到过因而不知道的极东边的地方称为“扶桑国”,他具体描述了一种他称为“扶桑木”的植物,说明“扶桑国”是因为其地有众多的这种“扶桑木”而得名的。慧深对扶桑国的介绍完全符合中国历代方士对东极的解说模式,慧深的知识背景无疑是属于汉字文化圈的。从慧深后来居荆州,而且可能把女国的珍稀动物鸭嘴兽带回中国(详后)看,慧深应是中国人。
将《梁书》的记载理解为出自两人,可以看到无名对扶桑国的叙述用的是和慧深同样的模式,也就是中国传统的描述方式。应该说《梁书》作者遵循的也是同一模式。由于游记和史学著作自觉地回避古神话和方士著作中看似怪乱的内容,在一定程度上也就隐掉了他们遵循同一模式叙述扶桑的事实。然而隐含的同一叙述模式,使游历不同地方的两位作者的扶桑国游记表现出许多共同点。另外,他们笔下的扶桑木本来可能是不同的植物,也因两人各自皆以方士著作叙述的扶桑木为摹本,从而使他们认定的扶桑木会有相似之处。同样遵从古籍扶桑叙述模式的历史作家很容易将两处不同的扶桑国和两种不同的扶桑木误为一处和一种。
对古地的定位和解释往往由于后世学者对不同的解释采取调和的做法产生误解,并且越往后误解越大,这在石泉先生荆楚历史地理研究的中心课题之一“古云梦泽故址新探”中可以看到。并且可以看作典型个案。前人记载中关于古云梦泽的地望大致有五说:一是“云杜说”,即《左传》所记鄖国之梦和《禹贡》之“云土梦”,地望在汉、晋时江夏郡云杜县,今汉水中游以东的京山、钟祥二县间;二为“华容-长林说”,又称“巴丘湖”,其前身即《左传》所记“江南之梦”,石先生最费劲的考定之一就在考定华容云梦泽的地望,他认为“江南之梦”的“江”指今蛮河,巴丘、华容、云梦泽都在今钟祥西北境;三是“西陵-安州说”,最早见于《汉书·地理志》,据《寰宇记》记载,北宋初年,安州云梦已缩小到“阔数十里”,南宋前期洪迈的《容斋随笔》中说:“询诸彼人,已不能的指疆域”;四、“洞庭湖说”,唐代前期,文人诗中开始泛指洞庭湖为古云梦泽并对地志书产生了影响,到清初,顾祖禹的《读史方舆纪要》和胡渭的《禹贡锥指》才开始把整个洞庭湖包括在云梦泽中;五“大云梦泽说”,始于《水经注·夏水篇》,把前述云杜、华容、安陆三说联为一体,形成“跨川亘隰,兼包势广”,位于长江以北、跨汉而不跨江的第一个大云梦泽,唐初,孔颖达疏释《禹贡》和《左传》,提出了“云梦跨江南北”之说,后世又以“江南之梦”在长江以南,终于形成了包括两湖平原的大云梦泽说。2
《梁书》作者从传统的扶桑叙述模式出发,看到两位作者描述的扶桑的相似处,就以为两人到的扶桑国为同一地点,从而把两人叙述的扶桑国和扶桑木合并在一起。由于《梁书》作者并不明确两位探险者说的扶桑的具体位置,因此有可能把两处扶桑牵合在了一起。如果两位探险者到的扶桑是两地,这种牵合就是后世对扶桑国的定位歧见叠出的根源。
三、关于扶桑国的定位
克拉卜落特对扶桑国的定位和慧深探险路线的推定是奇怪的。他认为,倭国为日本,文身国为虾夷地方,大汉国为桦太岛,从倭国经文身国至大汉国,路程是从本州沿北海道西海岸航行,反之从大汉国至扶桑国的路程,则是从北海道沿东海岸南下航行。因此,扶桑国在日本的东南部。
克拉卜落特是较早对扶桑国墨西哥说提出驳论而影响深远者。他的论述提示着《梁书》中存在两个独立的叙述过程。其原因一则可以如克拉卜落特所说,慧深记录了两条旅行路线。另一个解释就是如上所揭,《梁书》的记载出自两人之手。
日本的东南部是本州岛;倭国不论在九州还是本州,从倭国前往位于桦太岛的都经由本州。而扶桑国不论在本州还是本州东边或南边的小岛,慧深叙扶桑国时都应该以本州为基点,不应先叙遥远的北海道、桦太,再以桦太为基点叙扶桑国。克拉卜落特的叙述不合常情。
在后一种情况下,只要明确两人到的扶桑国并非一处,就可以肯定《梁书》的编撰方法及其对两位叙述者所到的扶桑国牵合的是引起混乱的根源。后世的各种释读,只要不能突破《梁书》以扶桑为一地的误解,无论如何努力,做到最好时也只能说对一半,而另一半必然成为被其攻击者紧紧抓住的软肋,以至整个论证无一可以自圆其说。
《梁书·东夷传》“扶桑国”篇在论扶桑国的得名和叙扶桑木之后,从“有板屋”以下叙述了扶桑国的居住、文字、 法律、物产、婚丧等各个方面,最后还提到了传入不久的佛教。这段话明白晓畅,没有逻辑混乱、怪诞费解之处,应是出自亲历者的实录,并可能是原本抄录,没有经过加工改造。《序》文说,梁普通中,有道人称自彼而来,他关于扶桑的记载特别详细,这详细的记载应该指这一段。
以往的研究者未能辨别《梁书》“扶桑国篇”本自两个人的著作,也就不会想到《梁书》的扶桑国可能不止一处。扶桑国墨西哥说的反对者中,最有影响的属希勒格的桦太说。现在注意到《梁书》“扶桑国篇”中存在两个作者,墨西哥说理应受到进一步的怀疑。
无名提到扶桑国有牛车、马车、鹿车,在中美洲并没有这三种力畜,而在东西伯利亚地区,它们是最普通的力畜,其中,驯鹿是最重要的供役使动物,鹿奶则是高级饮料,也被制成奶酪,供冬春食用。无名说“国人养鹿,如中国畜牛,以乳为酪”,扶桑国人最重要的奶竟是高级的鹿奶,而不是牛奶。牛奶在中国南方属希罕物,在北方则很普遍,尤其是在北方游牧民族南下中原以后。无名很可能是中国北方人。驯鹿的原产地在外兴安岭和勒拿河上游,无名所描述的扶桑国应在外兴安岭以东的东西伯利亚地区。因为本文重点不在无名所到的扶桑,不做深论。
无名介绍扶桑国有文字后,接着说:“以扶桑皮为纸”,可以断定无名的原文在此之前应该对扶桑木有所交待。从中国介绍扶桑之地的传统模式看,这也是必然的。因此《梁书·东夷传》“扶桑国篇”前文貌似全部属于慧深解释扶桑国得名和描述扶桑木的话中有可能包括无名著作中的语句。也就是说,今本《梁书》留下的解释扶桑国得名和描述扶桑木的话是综合了两人的著述而成。如果两人到的扶桑国为同地,那么这种综合不会引起太大的误解,当然仍然要辨别两人说的扶桑木是不是同一种植物。可是事实不是这样。
主张扶桑国桦太说的希勒格认为,东方朔所说的扶桑就是楮树的别名,理由是中国文献(按:指《梁书》等)所载的扶桑树实,形同楮实,楮实圆而软,作深紫色,与扶桑相同。他引陈槱《负暄野录》云:“扶桑国出芨皮纸。”芨皮纸当即现在日本所谓笹纸(ささがみ),以楮树皮为原料,北海道所出为良。希勒格认为,楮树既然出北海道,也就不难出桦太。3希勒格引仙话性的《十洲记》为证,说明他意识到现实的内容可能以仙话的面目出现,仙话也可以包含着经验的内容。朱谦之关于正史系统和野史系统的区分,未击中希勒格考证中错误之处的要害。无名笔下的扶桑木应有所传承,从他对扶桑国记录的详尽、平实看,他在辨别扶桑木时也应该继承了经验性较强的前人论述。《十洲记》说的“叶皆如桑,又有椹”,“其叶椹故如中夏之桑也”,这些曾为无名所留心,可能性极大。东西伯利亚地区,皮可以造纸、叶椹如桑的植物非楮树莫属。希勒格关于扶桑为楮树的考证是可信的。楮树皮除了用于造纸,其纤维也用来制衣,也可以作棉。因此“扶桑国篇”介绍扶桑国得名和扶桑木的句子中,与详述扶桑国相连的“绩其皮为布以为衣,亦以为棉”也应该写的是楮树。也就是说这两句出自无名,而不是慧深的著作。
希勒格说楮实圆而软,作深紫色,与扶桑相同,则是牵强的。李时珍《本草纲目》描述楮实形如杨梅,非常准确。其形自然不会是如梨而赤。希勒格的牵强是因为对自己考证的楮树的自信,同时却没有想到《梁书》“扶桑国篇”的文字会出自两人之手。他对扶桑和扶桑木的考证有相当合理的部分,但仅限于无名叙述的部分。这一部分却不是出自慧深的著作。其牵强之处的根源在于慧深叙述的扶桑木是另一种植物,慧深说的扶桑国也是另一地。
《传》文“扶桑国者,齐永元元年(499年),其国有沙门慧深来至荆州,说云:‘扶桑在大汉国东二万余里,地在中国之东,其土多扶桑木,故以为名。’扶桑叶似桐,而初生如笋,国人食之,实如梨而赤,绩其皮为布以为衣,亦以为绵。”这段话的主体应来自慧深的著作,但是,因为前面提到的叙述扶桑的传统模式,无名的著作中也会有同慧深类似的论扶桑国得名以及扶桑木的论述。上面这段文字的编撰者见到两人著作中雷同的部分,以为两人所到的扶桑国为同一地方,而慧深的著作较早,所以叙扶桑国得名时采纳了慧深的字句,但描述扶桑木时,只是简单地把两人的话合在一起,实际上也就是把两种不同的植物硬生生地拼到了一块。而对扶桑国的介绍,因为无名的特别详细,所以全录了无名的著作,但慧深的介绍可能全部被删去了。从慧深对扶桑国的东邻——女国的叙述看,慧深到的扶桑国应是对中国人来说比无名到的貉族地方更加陌生的地方。
《梁书》“扶桑国”篇说:“扶桑国在大汉国东二万余里,地在中国之东”。这句话是墨西哥说的最主要依据之一。否定墨西哥说的希勒格认为中国人所述扶桑的距离里数不足为凭。4希勒格没有考虑有关里数的计里标准,因此他击中了墨西哥说证据不足的要害,但论据是无力的。
关于中国古代的计里标准问题,石泉先生作出过杰出的开创性的工作,在中国历史地理学上提出了一个亟待解决的基础理论问题。石先生在陈寅恪先生指导下读研究院时,曾把本科毕业论文《春秋吴师入郢地名新释》请陈先生看过,并多次把自己对荆楚历史地理的想法向陈先生请教。陈先生重点指示两点:注意六朝江陵外围诸多城邑之地望;注意古今里的大小与换算问题。5石先生在《楚郢都、秦汉至齐梁江陵城故址新探》一文中有专节探讨古今里数换算问题。先生论定三国至齐梁时,荆楚地区古里与今里之比大约为3﹕1。6
《梁书·东夷传》载,文身国在倭国东北七千余里。大汉国在文身国东五千余里。文身国、大汉国不见于它书记载。不知其立国年代。鉴于《梁书》文身国之右的倭、侏儒等国史料皆出自三国以前,因此对倭与文身、大汉国间里数,必须结合较早的有关倭国的史料进行分析。
《梁书》云,倭去带方万二千余里。《三国魏志·东夷传》(卷30)载:
倭人在带方东南大海之中,依山岛为国邑.……从郡至倭,循海岸水行,历韩国,乍南乍东,到其北岸狗邪韩国,七千余里,始度一海,千余里至对马国。……又南渡一海千余里,名曰瀚海,至一支国,……方可三百里,……又渡一海,千余里至末卢国,……东南陆行五百里,到伊都国,……东南至奴国百里,南至投马国,水行二十日,……南至邪马台国,女王之所都,水行十日,陆行一月。……自郡至女王国万二千余里。
邪马台国究竟在日本什么地方?一说在九州北部,一说在本州的大和(今奈良,)在日本学者中尚无定论。7《三国志》记载的诸国道里详尽而标准统一,显然出自某一时期使团或商团的实录。石泉先生指出:我国古代计里标准“往往因地而异,大小不一,甚至同一地区又有大里小里之别,因此历史上的里数记载,只能就一定时限下、一定地区内的不同城邑之间相对距离作一些比较,借以作为考释地望时的旁证而已。”8在缺少更多其它论证的情况下,就里数而论,邪马台国九州北部说优于大和说。投马国和邪马台国可能隔有明海,因此水路较近而陆路绕行颇远。因为相关里数记载相当详尽,凭以支持九州北部说当可成立。
以同样的计里标准看,倭国东北七千余里的文身国,可以在四国岛,又东五千余里的大汉国应在本州西部。二万里外的扶桑国有可能在库页岛。因此,中国书籍记载的里数不但不象希勒格所说的是不可信的,反而可以作为希勒格之考证的合理性的极好旁证。希勒格没有考虑中国古代的计里标准问题,错过了有力的论据;而他对扶桑木考证的牵强之处,则说明慧深描写的扶桑木应是楮树之外的另一种植物;慧深到的扶桑国也可能另有其地。
四、女国及鸭嘴兽
从《梁书》中析出无名详细介绍扶桑国的文字后,可以发现,慧深关于扶桑国的记载除扶桑木以外实际上已经完全被无名的记载所取代而没有留下具体内容。慧深关于扶桑国得名的论说以及对扶桑木的描写,只是因为被认为是最早亲历扶桑而留下的文字记录,才被作了重点介绍。因为慧深与无名对各自亲历的扶桑之地的介绍都遵循中国传统的介绍模式,主要是叙述模式的相似加上一些可能的巧合,使得史书编撰者误以为两人所到的扶桑为同地。因此《梁书》扶桑国篇中介绍扶桑国得名及描写扶桑木的文字以慧深的著作为主,但孱进了无名著作中的句子,并由编撰者进行过编辑。直接由慧深的文字考证扶桑国和扶桑木看起来比以往更多了困难。对慧深介绍的扶桑国东一千里的女国必须给予更多的注意。
《梁书》女国篇记载的人物极为离奇。这段记载及随后狗头人的传说常被用作证明慧深所说不可信的证据。朱谦之先生认为:“女国虽因慧深而传,然慧深未到此国,仅得自传闻,所以神话与史实相混,只好算作一种传说。”9但他认为女国是存在的,在墨西哥之东,为小安德烈斯群岛中之马尔蒂尼加岛(Martinique)。10把慧深说的女国看作得自传说,从《梁书》以来就是这样理解的了,后来的《南史》、《通典》、《文献通考》等无不如此。《梁书》在女国篇后面加上一段提到天监六年,晋安(今福建省福州市)人到狗头人之地的传闻,实际上是转述了一个广为人知的传说。11这样处理的目的一方面是为了佐证被误解了的慧深介绍的女国这种奇异人类的可信,前史有征,另一方面也表达了作者自己的怀疑。
如果《梁书》“女国篇”原原本本地抄录了慧深的原著,那么慧深的话只能理解为得自传说。但考虑到慧深著作被录入《梁书》中的文字是经过整理的。因此必须考虑慧深的原著是否因为后人的整理而改变了原貌。
《后汉书·东夷列传》(卷85):
自女王国东度海千余里,至拘奴国,虽皆倭种,而不属女王。自女王国南四千余里,至朱儒国,人长三四尺。自朱儒东南行船一年,至裸国、黑齿国,使驿所传,极于此矣。
《三国志·魏志东夷传》(卷30):
女王国东渡海千余里,复有国皆倭种。又有侏儒国在其南,人长三四尺,去女王四千余里。又有裸国、黑齿国,复在其东南,船行一年可至。
《梁书·东夷传》:
(倭国)其南有侏儒国,人长四尺。又南有黑齿国、裸国,去倭四千余里,船行可一年至。又西南万里有海人,身黑眼白,裸而丑,其肉美,行者或射而食之。
《梁书》按照唐代的地理知识和计里标准对原书的行文次序加以改动,是以认定原书有错简为前提的。改侏儒国“人长三四尺”为四尺,目的是为了使之接近现实。
《梁书》有按照唐人的知识改动原始文献的做法,因此对于慧深何以在历尽艰险之后主要留下的却只是一个离奇的传说必须多存一个疑问。再次审视《梁书·东夷传》的“女国篇”:
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,身体有毛,发长委地。至二、三月,竞入水则任娠,六七月产子。女人胸前无乳,项后生毛,根白,毛中有汁,以乳子,一百日能行,三四年则成人矣。见人惊避,偏畏丈夫。食咸草如禽兽。咸草叶似邪蒿,而气香味咸。”
这段文字初看正如朱谦之所指出的象是“神话与史实相混”。但原因不能单单归诸慧深的记载得自传闻,要考虑慧深的实录是否因后人的“整理”,实为窜乱而走了样。如果慧深的描述不是得自传闻,而是实录,那么上面引文中的离奇的描写只能理解为介绍的是女国的一种动物。像入水而任娠在人类是不可解的,但在动物中却不少;百日能行也不是任何人类能做到的。至于“毛中有汁,以乳子”结合前面说的“胸前无乳”,则可以肯定这种动物是主要分布在澳洲大陆东南部和塔斯马尼亚岛的鸭嘴兽,鸭嘴兽是已知的唯一没有的哺乳动物,这种唯一性使我们的判断变得容易。这一判断可以从篇中描写的这种动物的其他特征得到印证。
鸭嘴兽身上有200多个小腺体,所有腺体的导管均汇集于腹部皮肤的一个特定位置敞开,形成乳腺区,母兽孵出幼子后,乳汁象出汗一样从靠毛鞘(即所谓“根白”)的开口处在哺乳区分泌出来,小鸭嘴兽就趴在仰卧的母兽身上舔食。四个月后,幼兽能独立生活,即所谓“一百日能行”。鸭嘴兽的交配在水中进行,通常在十月,也就是南半球的春天,慧深说在二、三月,可能是鸭嘴兽曾被慧深引入中国,繁殖期发生了变化(详后)。交配季节,雄兽常为争夺配偶发生激烈的打斗,交配时,雌兽在前跑,雄兽在后追,经一个多小时的逐偶游戏后,雄兽就用扁嘴轻轻地衔住雌兽的尾巴,在水中缓慢地转圈,进行交尾,此即“竞入水则妊娠”。明确慧深描写了鸭嘴兽这种珍稀动物,同时也明确了慧深到的女国应在澳洲大陆或塔斯马尼亚岛,可以肯定,“女人胸前无乳”中的“女人”二字是把鸭嘴兽理解为奇异人类的文献整理者因为不能正确理解慧深的描写,误以为他得到的文献有错简,在“整理”(实为窜乱)时移至此处的。由于塔斯马尼亚土著女人头发短而卷曲,澳洲大陆东部的土著则以发长著称,由此应可判断,慧深说的女国当在澳洲大陆。澳洲大陆土著与四周的人都很不同,在欧洲人笔下,他们被形容为相貌英俊,慧深说他们“色甚洁白,容貌端正”,应当也是同周围各种人比较而言。在慧深原著中,“女人”二字当在“长发委地”之前。从文献整理者将鸭嘴兽误解为女人的思路出发,可对《梁书》这段被整理过的文字逐步还原:
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,身体有毛,[女人]发长委地。至二、三月,竞入水则任娠,六七月产子。(女人)胸前无乳,项后生毛,根白,毛中有汁,以乳子,一百日能行,三四年则成人矣。见人惊避,偏畏丈夫。食咸草如禽兽。咸草叶似邪蒿,而气香味咸。”
“一百日能行”后面“三四年则成人矣”对于人类本是不可理解的,所以原来应是写鸭嘴兽的,但经过了改动。原文应是“两年即长成矣”。鸭嘴兽的成熟期为两年,这对人类无论如何说不通,整理者将“两年”改成“三四年”,以求符合实际,人三四岁语言、跑跳、自主进食等功能已具备,说“成人”很勉强地说得通,这种改动在前面提到的侏儒国人身高问题上已经看到过了,然后,“长成”被改成“成人”以便语句顺畅,意思明白。紧接着“见人惊避”,应是描写鸭嘴兽性情胆怯,但“偏畏丈夫”又只能说的是人了。后面的食咸草也写的是人,因为鸭嘴兽是肉食性动物。把明显的描写人和鸭嘴兽的句子分开:
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,身体有毛,[女人]发长委地,[偏畏丈夫。食咸草如禽兽。咸草叶似邪蒿,而气香味咸。]至二、三月,竞入水则任娠,六七月产子。(女人)胸前无乳,项后生毛,根白,毛中有汁,以乳子,一百日能行,(三四)[两]年则[长]成(人)矣。见人惊避。(偏畏丈夫。食咸草如禽兽。咸草叶似邪蒿,而气香味咸。)”
澳洲土著背后长毛,这在世界各人种中是非常特殊的。人身体有毛并不罕见,甚至是较普遍的,如胡人多毛为中国人习知。整理者不了解澳洲土著背后生毛的特点,把它理解成奇异“女人”的特点,将“项后生毛”与“身体有毛”做了对调,把它们恢复到原来的位置:
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,项后生毛,女人发长委地,偏畏丈夫。食咸草,如禽兽。咸草叶似邪蒿,而气香味咸。至二、三月,竞入水则任娠,六七月产子,胸前无乳,身体有毛,根白,毛中有汁,以乳子,一百日能行,两年则长成矣,见人惊避。”
说人食用一种植物就象禽兽,逻辑不通。慧深介绍了鸭嘴兽,但上面的复原还看不出慧深笔下鸭嘴兽的名字。
鸭嘴兽既像爬行动物,又像哺乳动物,它的扁嘴、扁尾、脚蹼以及卵生,又像鸟类。澳洲土著传说,鸭嘴兽是水老鼠强奸鸭子而生成的,他们无疑注意到了鸭嘴兽是象禽类的哺乳动物,这种观念应该起源甚古,“如禽兽”当是慧深给鸭嘴兽起的中文名字,而且正是土著语言中鸭嘴兽一个名字的直译或意译。
把慧深的著作理解为对澳洲土著和澳洲最有特点的珍稀动物鸭嘴兽的介绍,可将唐人因为对澳洲的无知而错误地对慧深原著进行的整理还原如下:
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,( 身体有毛)[项后生毛],[女人]发长委地,[偏畏丈夫。食咸草(如禽兽),咸草叶似邪蒿,而气香味咸。][有][如禽兽],至二、三月,竞入水则任娠,六七月产子,(女人)胸前无乳,(项后生毛)[身体有毛],根白,毛中有汁,以乳子,一百日能行,(三四)[两]年则[长]成(人)矣,见人惊避。(偏畏丈夫。食咸草如禽兽。咸草叶似邪蒿,而气香味咸。)”
脱去括弧:
慧深又云:“扶桑东千余里有女国,容貌端正,色甚洁白,项后生毛,女人发长委地,偏畏丈夫。食咸草,咸草叶似邪蒿,而气香味咸。有如禽兽,至二、三月,竞入水则任娠,六七月产子,胸前无乳,身体有毛,根白,毛中有汁,以乳子,一百日能行,两年则长成矣,见人惊避。”
我对鸭嘴兽的考证经由网络得到过非常有力的证据的支持。网友96nn(纪楠楠先生)看到齐东野人转载的我首发在《学说连线网》上的《第一个到达澳洲的中国人——慧深》一文后,想起以前看到过的介绍南北朝时鸭嘴兽玉雕的文章(附有玉雕照片),特地传上网络。12玉雕收藏人杜心先生说这件古玉的制造年代是公元五、六世纪的南北朝时期13。慧深从他说的扶桑国到荆州的时间正是五世纪末。历史时期中国与澳洲之间的交往非常有限,中国的知识阶层中到过澳洲的可能绝无仅有,在儒家占主流的中国知识阶层中,能不辞艰险,犯死远游的恐怕只限于佛教僧侣和道家方士了。由“复原”后慧深对如禽兽(鸭嘴兽)的介绍看,慧深对鸭嘴兽的生活特性描写得非常准确,而且象哺乳、幼兽成长过程等细节如果不是亲自养过鸭嘴兽,仅凭对处于自然状态下的鸭嘴兽的观察是无法了解得这么详细的。前面提到慧深说鸭嘴兽的繁殖期在二三月,有可能是因为慧深到中国时带了种兽,它们的繁殖期在中国发生了变化。这一推断也将有助于解决慧深的国籍这一相关研究领域内的焦点问题。
鸭嘴兽独特的生活特性使他成为澳洲最吸引人的动物,它对经典动物分类体系的挑战尤其会吸引有科学探索精神的学者的注意。能得到这样的动物,任何学者都会视同珍宝。慧深考察女国后下一步的目的地应是故国,如衣锦而归乡。而且鸭嘴兽是极难人工饲养的动物,慧深也需要为鸭嘴兽提供一个安定的环境。因此慧深应该是中国僧人。
女国在澳大利亚,那么其西千余里且靠近澳洲大陆东部的扶桑国应在巴布亚新几内亚(伊利安岛)。
五、若干相关问题
1、《梁书》倭国的位置
《梁书·东夷传》云:“扶桑国者,齐永元元年(499年),其国有沙门慧深来至荆州,说云:‘扶桑在大汉国东二万余里,地在中国之东,其土多扶桑木,故以为名。’扶桑叶似桐,而初生如笋,国人食之,实如梨而赤……”以往把《梁书》扶桑国篇理解为出自慧深一人之手,则“扶桑在大汉国东二万余里,地在中国之东”,显得叠床架屋,语句重复。大汉国为倭种之国当无疑义,慧深到的扶桑国既在巴布亚新几内亚,似不应以大汉国为比照。这句应是无名的话,应是《梁书》作者或其前的人将慧深与无名到的扶桑国误为同地而孱进了慧深的话中。“地在中国之东”应是慧深的话,“东”下可能阙“南”字。《梁书·东夷传》说倭国“大抵在会稽之东”,与此前史书说的倭在韩国或带方郡东南的说法都不同。14《梁书》的特殊说法可能仍然是因为受困于慧深说的扶桑国的方位。慧深著作中当有扶桑国在中国或会稽东(南)的叙述,与无名说的扶桑国在倭国、文身国、大汉国东(北)的说法不合,《梁书》模糊地把倭国定在会稽之东似乎是为了牵合慧深和无名对扶桑国位置的不同说法。
2、 鸭嘴兽的特性和南半球问题
唐代整理者对慧深描写的女国无法正确理解,因此到史籍中寻找答案。《三国志·魏书·东夷传》:“有一国亦在海中,纯妇无男。” 《后汉书·东夷传》:“海中有女国,无男人。或传其国有神井,窥之辄生子云。”而《山海经·海外西经》云:“女子国在巫咸北,两女子居,水周之。”郭璞注曰:“有黄池,妇人入浴,出即怀妊矣。若生男子,三岁辄死。”郭璞的话同慧深说鸭嘴兽的“至二、三月,竞入水则妊娠”相巧合,这应是整理者将慧深笔下女国的动物鸭嘴兽解为史传记载传说中女国奇异人类的关键。
然而整理者对慧深原著的最坚定的怀疑一直非常肯定地认定他看到的文件有错简并完全根据自己从书本得到的对女国的认识对慧深原著文字大胆改动,则导因于鸭嘴兽最令人费解的“不合规律”的特性。慧深说如禽兽(鸭嘴兽)六七月产子,“子”字原本和梁武帝在围城中手自点数的鸡子的“子”一样解为卵。《庄子·知北游》说:“九窍者胎生,八窍者卵生”,成玄英疏:“人兽九窍而胎生,禽鱼八窍而卵生。”其说也见于后世儒、道著作。15佛教著作把动物按孕育方式分为卵生、胎生、湿生、化生。慧深对鸭嘴兽是卵生的兽类这一特点必然有说明,不了解事实而认为古来有关卵生胎生的分别为规律的人,如果不是象玉雕作者那样亲眼见过,几乎不可能接受慧深的“违背规律”的解释,正如恩格斯也曾在这个问题上犯错误一样。可惜古人几乎没有机会改正错误。出于旧的对卵生胎生的规律性认识,整理者对把慧深关于鸭嘴兽的介绍看作是女国传说的记录并认为有错简充满了自信。在整理的过程中,慧深关于鸭嘴兽卵生而哺乳的深入说明因为不为整理者所理解,被作了删节。
同样因为“不合规律”而被做了删节的应该还有慧深对南半球气候的说明。
鸭嘴兽的繁殖期在澳洲大陆南北有一定差异。北部在八月,南部则在十月。交配后十余天产卵。根据前面对《梁书》“女国篇”中慧深著录的修复,慧深说鸭嘴兽“六、七月生子”,可知其繁殖期相当于现在公历的8、9月 ,因此慧深应该到了澳洲的(东)北部,有可能到达中部。“二、三月,竞入水则妊娠”说的交配时间应该是鸭嘴兽到达中国以后的情况。假设慧深带鸭嘴兽到中国后,居住地的纬度同他获取所带鸭嘴兽的地方相同,鸭嘴兽的繁殖期可能与澳洲的原生地正好差6个月,也就是在一、二月。迁入地的繁殖期后延一个月,当是因为慧深定居的荆州(旧说在湖北省江陵县,新说在湖北宜城县南境16)比他所带鸭嘴兽的原生地在纬度上偏高。慧深带到中国的鸭嘴兽最大的可能是取自澳洲大陆的东北部。
慧深原著中对中国和女国气候的相反必然也有所论述。可惜也被认北方为玄天,南方为炎天为规律的整理者视为异端而被删除了。
慧深并有可能对宇宙模型有新的认识,在既有的各种宇宙模型的基础上有所突破。慧深没有把更东边的澳大利亚,即女国称为“扶桑国”,而称巴布亚新几内亚为“扶桑国”,当是因为描述澳大利亚涉及了如何理解和解释南半球的困难。慧深至少意识到了既有的宇宙模型不足以解释女国的气候现象。
但唐人对佛教构想的宇宙模型普遍轻视。《通典·边防典序》(卷185)李淳风云:“唯释氏一家论天地日月,怪诞不可知也。”这种轻视可能也影响了《梁书》作者或更早的《梁书》中慧深这段文字的编撰者,成为他(们)忽视慧深的基于实践的新认识的因素之一。
3、 关于扶桑木
慧深到的扶桑国在巴布亚新几内亚,慧深说的扶桑木应该是一种热带植物。韩昇认为:“象南方的槟榔一类植物,但差异也不小。”17周策纵认为是榕树。18
在析出无名著作中的句子后,《梁书》中慧深对扶桑木的描写只剩“扶桑叶似桐,而初生如笋,国人食之,实如梨而赤”这点有限的信息。槟榔和榕树都有“实如梨而赤”的。榕树中有一种无花果树,属桑科,叶子形状与桐树叶以及有丫杈的桑叶相似。说扶桑木叶子初生如笋,则更可能是其生长点被称为“半天笋”的槟榔。但是《通典》“笋”字作“頾”,即“髭”。植物各种组织中能让人联想到胡须的,首先自然是根须。《梁书》留下的慧深的文字脱漏太甚,慧深的原意有可能是形容榕树的气根。
《唐大和上东征传》载,鉴真到崖州,“大使已下,至于典正,作番供养众僧,大使自手行食,将优昙钵树叶以充生菜,复将优昙钵子供养众僧,乃云:‘大和上知否,此是优昙钵树子。此树有子无华,弟子得遇大和上,如优昙钵华,甚难值遇。’其叶赤色,圆一尺余。子色紫丹,气味甜美。”这种“子色紫丹”的无花果树,叶子可以做生菜。慧深所谓的扶桑木也许是这一类的无花果树。
4、 慧深到达澳洲的条件
四至六世纪我国“五胡十六国”时代是是一个各方交流、民族融合的时代,也是历史气候的寒冷期。寒冷的气候促使北方游牧民族南下中原,中原汉族南下浙闽湖广。陈桥驿先生在研究《水经注》的过程中把公元四至六世纪的民族大迁徙总结为“地理大交流”。19但同时沿海居民也更多迁移海外,因为这种迁移很少在历史记载中留下痕迹而被忽视。应该说海上迁移构成了更大范围的地理交流。
地理大交流的结果之一是中国地理学的大发展。参与交流者都面临新的自然地理环境和人文地理环境。新旧地理环境构成了他们现实生活和思想上的强烈对比,扩大了人们的眼界,丰富了他们的地理知识。一大批的地理学著作也因此诞生。如果说《水经注》是地理学发展的高峰,慧深和无名的扶桑探险就是与地理学发展相伴的地理发现的高峰。也可以说彗深到达澳洲是更大范围地理交流的结果。彗深和无名的远游,动机之一是是对地理知识的兴趣。中国地理学的大发展为追求地理兴趣营造了氛围,也准备了知识。
长期的寒冷气候使地球冰川面积的大幅度增加,更多岛屿露出水面,适合人类居住的岛屿增多,人烟稀少的小岛因为面积增大而人口增长。航海知识的丰富更多地得益于海上人类活动的空前频繁,后者又得益于海面地物的增多和持续数世纪的航海经验的积累。海上活动的频繁还使人们通过口耳相传得以有更多的机会了解原先一无所知的遥远地域。这些都是慧深和无名僧人远行的现实基础。
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1 以上参见朱谦之《扶桑国考证》,商务印书馆,1940年。
2 石泉:《古代荆楚地理新探·自序》,第29-35页,武汉大学出版社,1990;石泉、蔡述明:《古云梦泽研究》,湖北教育出版社,1996。
3 参阅朱谦之:《扶桑国考证》第29页,商务印书馆,1940。
4 参阅朱谦之:《扶桑国考证》第28页,商务印书馆,1940。
5 石泉:《古代荆楚地理新探·自序》,第16页,武汉大学出版社,1990年。
6 石泉:《古代荆楚地理新探》,第464~467页。关于先生的论定,我也找了一些旁证。如唐一行作的大地测量,得出从滑县到上蔡的距离是526.9里,日影已差2.1寸,即相距251里,影长差1寸,一次用实测推翻了长期奉为经典的日影长度千里差一寸的说法。他们进一步比较数据,发现影差和南北距离的关系根本不是常数,于是改用北极高度的差来计算,从而得出地上南北相差351.27里,北极高度相差1度的结论。如果一行测量时用的方法与此前的方法没有本质不同,关于旧经典数据和一行数据如此巨大的差距就必须考虑不同时代的计里标准问题。三国吴徐整《三五历纪》云:“ 天地浑沌如鸡子。盘古生在其中。万八千岁。天地开辟。阳清为天。阴浊为地。盘古在其中。一日九变。神于天。圣于地。天日高一丈。地日厚一丈。盘古日长一丈。如此万八千岁。天数极高。地数极深。盘古极长。故天去地九万里。后乃有三皇。”
取18000×365丈=90000里
1里=73丈
1丈=10尺
1尺=0.2米或1尺=0.25米
则1里=146米或1里=182.5米
这里的数据表明三国时至少吴国境内的3里约当今1里,与石先生的考证竟如此吻合。
7 参阅王仲荦:《魏晋南北朝史》,第659页,上海人民出版社,2003。
8 石泉:《古代荆楚地理新探》,第465页,武汉大学出版社,1990年。
9 朱谦之:《扶桑国考证》第68页。
10同上,第74页。
11《山海经• 海内北经》“犬封国”下郭璞注:“昔盘瓠杀戎王,高辛以美女妻之,不可以训,乃浮之会稽东南海中,得三百里地封之,生男为狗,女为美人,是为狗封之民也。”稍后于郭璞的干宝的《晋纪》和《搜神记》、南朝宋时范晔的《后汉书》有更祥记载。
12 图片原发于《塞爱维·文明联盟网》,原址为:http://www.civclub.net/bbs/viewthread.php?tid=4900&extra=page%3D1&page=1 后因故删除。现于此地址可见:http://ydwq3613.blogchina.com/3034248.html
13 张庆麟:《我国南北朝时有鸭嘴兽吗?》,载《化石》1998年第2期。
14 《后汉书》卷85《东夷列传》:“倭在韩东南大海中,依山岛为居,凡百余国。”《三国志》卷30《魏志·东夷传》:“倭人在带方东南大海中,依山岛为国邑。”《晋书》卷《东夷列传》“倭人再带方东南大海中,依山岛为国。”《宋书》卷97《夷蛮列传》:“倭国在高骊东南大海中,世修贡职。”《南齐书》卷58《东南夷列传》:“倭国,再带方东南大海岛中。” 《后汉书》卷85《东夷列传》:“倭在韩东南大海中,依山岛为居,凡百余国。”《三国志》卷30《魏志·东夷传》:“倭人在带方东南大海中,依山岛为国邑。”《晋书》卷《东夷列传》“倭人再带方东南大海中,依山岛为国。”《宋书》卷97《夷蛮列传》:“倭国在高骊东南大海中,世修贡职。”《南齐书》卷58《东南夷列传》:“倭国,在带方东南大海岛中。”
15 《大戴礼记》《易本命篇第八十一》:“龁吞者八窍而卵生;龃[齿+爵]者九窍而胎生。”又见《孔子家语》卷6《执辔》第二十五。《淮南子》卷4《地形篇》:“啮吞者八窍而卵生,嚼咽者九窍而胎生。”
16 石泉:《古代荆楚地理新探》,武汉大学出版社,1990。
17 韩昇《佛教初传日本年代考》, http://www.macau-buddhism.org/28/28-7f.htm
18 周策纵《扶桑为榕树考》,见《学术集林》卷十一,上海远东出版社,1997。
19 参阅陈桥驿:《地理大交流——公元四世纪到六世纪的历史新解》,《民族团结》1995年第8期
difficult words
(作者置顶)
http://www.clas.ufl.edu/users/bkimura/familiesdescentkinship.htm
Families
Nuclear family
parents and children
not universal
common among foragers and in industrialized countries
Extended family
3 or more generations
Bosnia: zadruga male houshold head and his wife, married sons with wifes and children, unmarried sons and daughters
Family of orientation
born into
interaction with parents and siblings
Family of procreation
formed when marries and have children
interaction with spouse and children
Changes in the United States
1970: 40% nuclear families; 2000: 24%
decrease in household size
Residence patterns
Patrilocal
pater (latin for father), local (locality, place)
living in or near husband’s father’s household
67% of cultures in cross cultural comparisons
most common in cultures with conflicts with neighboring communities, keeps sons close for defense
examples: zadruga in Bosnia, Konso
Matrilocal
mater (latin for mother)
living in or near wife’s mother’s household
15% of cultures in cross cultural comparisons
most common in cultures where men are away for extended periods or warfare is purely external
example: Nayar in India; headed by senior woman assisted by brother; tarawad inhabited by her children, siblings and sisters children
Residence patterns
Bilocal
bi as prefix means two
living with or near either wife’s or husband’s parents household
7% of cultures in cross cultural comparisons
common when population is low such as among foragers, or when population has been severely reduced
example: San in Kalahari
Neolocal
neo (latin) means new
married couples establish their own household away from parents
5% of cultures in cross cultural comparisons
common in societies with monetary exchange
example: United States and Europe
Avunculocal
avunculus (latin for uncle)
living with or near the husband’s mother’s brother’s household
4% of cultures in cross cultural comparisons
example: Trobriand Islands
Descent groups
A permanent social unit whose members claim common ancestry
Descent groups are often corporate, sharing resources and property
An individual is born into a unilineal descent group (ascribed status) and can choose which ambilineal descent group to join (achieved status)
Individuals can also join a descent group by adoption
Descent groups
Lineage
a set of kin whose members trace descent from a common ancestor through known links
Clan
a descent group who claims common ancestry but cannot demonstrate the links
the apical ancestor may be non-human
clans are often designated by a plant or animal name
Lineages
Patrilineal organization
individuals join the father’s descent group at birth
most common type of lineage organization
large lineages may be divided into sublineages who trace their ancestry to a son of the lineage ancestor
generally patrilocal residence pattern
Matrilineal organization
individuals join the mother’s descent group at birth
positions of public power are typically held by men
mother’s brother an important authority figure
residence pattern is matrilocal or avuvunculocal
Ambilineal organization
individuals choose among their parents and grandparents descent groups
an individual can change affiliation
less common than unilineal descent
advantageous in societies with scant resources
Bilateral descent
relatives on mother’s and father’s side equal
includes consanguineal and affinal kin
Konso
Patrilineal with the lineage head descendant from the oldest son of the lineage ancestor
New lineages can be formed after 5 generations from the oldest son of the 2nd wife of the lineage ancestor
Lineage heads solve disputes and preside over rituals
Nine exogamous clans
Kinship calculation
Kin terms
the classificatory terms used in a particular culture for different types of relatives
Biological kin type
the degree of actual relatedness between kin
Consanguineal kin: related by blood
lineal: direct line (parents, grandparents, children, grandchildren),
collaterals: other blood relatives
Affinal kin: related by marriage
Cousins
Parallel cousins
children of mother’s sister or father’s brother
Cross cousins
children of mother’s brother or father’s sister
In some societies cross cousins marry
helps to form alliances
In a few societies parallel cousins marry
consolidates property
Lineal kinship
Inuit (Eskimo) system
All cousins lumped together with the same term
Uncles and aunts are lumped under the same term
Mother, father, brother and sister separate terms
Common with nuclear families and bilateral descent
Bifurcate merging kinship
Omaha system
one term for father and father’s brother
one term for mother, her sister and her brother’s daughter
one for mother’s brother and his son
brother, sister and parallel cousins distinguished by sex
father’s sister and her children unique terms
common in societies with patrilineal descent
Bifurcate merging kinship
Crow system
one term for mother and her sister
one term for father, his brother and for his sister’s son
one for father’s sister and her daughter
brother, sister and parallel cousins distinguished by sex
mother’s brother and his children unique terms
common in societies with matrilineal descent
Bifurcate merging kinship
Iroquois system
one term for mother and her sister
one term for father and his brother
mother’s brother and father’s sister unique terms
brother, sister and parallel cousins distinguished by sex
cross cousins distinguished by sex
common with unilineal descent
Generational kinship
Hawaiian system
One term for father, father’s brother and mother’s brother
One term for mother, mother’s sister and father’s sister
Siblings and cousins distinguished by sex
Common with ambilineal descent and bilocal residence pattern
Bifurcate collateral kinship
A different descriptive term is used for each relative
Uncommon
Likely to be patrilineal societies
Associated with class stratification and occupational specialization
Kinship terminology
Examples of kinship terminologies
Konso
One term for father and father’s brother
One term for mother and mother’s sister
Separate terms for mother’s brother and father’s sister
Separate terms for siblings and cousins
Separate terms for older and younger siblings
bifurcate merging kinship
Sweden
Separate terms for all individuals in parents generation
Separate terms for brother and sister
One term for cousins
bifurcate collateral kinship
Many societies have some modifications to the main ways of classifying kin
Abipones, a tribe of South American Indians of Guaycuran stock recently inhabiting the territory lying between Santa Fé and St Iago. They originally occupied the Chaco district of Paraguay, but were driven thence by the hostility of the Spaniards. According to Martin Dobrizhoffer, a Jesuit missionary, who, towards the end of the 18th century, lived among them for a period of seven years, they then numbered not more than 5000. They were a well-formed, handsome people, with black eyes and aquiline noses, thick black hair, but no beards. The hair from the forehead to the crown of the head was pulled out, this constituting a tribal mark. The faces, breasts and arms of the women were covered with black figures of various designs made with thorns, the tattooing paint being a mixture of ashes and blood. The lips and ears of both sexes were pierced. The men were brave fighters, their chief weapons being the bow and spear. No child was without bow and arrows; the bow-strings were made of foxes' entrails. In battle the Abipones wore an armour of tapir's hide over which a jaguar's skin was sewn. They were excellent swimmers and good horsemen. For five months in the year when the floods were out they lived on islands or even in shelters built in the trees. They seldom married before the age of thirty, and were singularly chaste. "With the Abipones," says Darwin, "when a man chooses a wife, he bargains with the parents about the price. But it frequently happens that the girl rescinds what has been agreed upon between the parents and bridegroom, obstinately rejecting the very mention of marriage. She often runs away and hides herself, and thus eludes the bridegroom." Infanticide was systematic, never more than two children being reared in one family, a custom doubtless originating in the difficulty of subsistence. The young were suckled for two years. The Abipones are now believed to be extinct as a tribe.
Martin Dobrizhoffer's Latin Historia de Abiponibus (Vienna, 1784) was translated into English by Sara Coleridge, at the suggestion of Southey, in 1822, under the title of An Account of the Abipones (3 vols.).
anthropomorphic adj.人、神同形同性论的
ASTYOCHE | ASTUOCH |
Or Astyocheia (Astuocheia). A daughter of Phylas, king of Ephyra, by whom Heracles, after the conquest Ephyra, begot Tlepolemus. |
The Atakapa (pronounced "uh-TAK-uh-paw", also spelled Attakapa, Attakapas, Attacapa, formally known as the Ishaks, pronounced "ee-SHAKS", translated as The People [1] ) were a Southeastern culture of Native American tribes and with a common language that lived along the Gulf of Mexico.
Their territory ranged from the Trinity River and Galveston Bay in Texas to Bayou Teche and Vermilion Bay in Louisiana. They hunted small game, and ate fish, roots, berries, and shellfish and also planted crops. Though the tribe's population at various times was speculated in tens of thousands, historians agree those numbers had dwindled to mere hundreds when Louisiana was undergoing colonization in the 1700s and different bands migrated westward.
Cherokee
切罗基族(北美易洛魁人的一支)人
切罗基语
是一种切罗基族使用的易洛魁语。是唯一尚在使用的 南易洛魁语。
通行区: 美国
区域: 奥克拉荷马州与大烟山切罗基族保留区,北卡罗来纳州
总使用人数: 15,000 to 22,000
语系: 易洛魁语系
南易洛魁语支
切罗基语
Chippeways
n. pl. 1. (Ethnol.) A tribe of Indians formerly inhabiting the northern and western shores of Lake Superior; - called also Objibways.
希尔克斯人(Circassians)是以色列民族多元化中的一个精彩组成部分。其中3000人居住在加利利下游地区的卡马(Kfar Kama) 村,另外1000人则居住在加利利上游地区的让哈尼亚(Rekhaniya) 村。
切尔克斯人原住在欧亚两大洲交汇处的高加索北部山区;十九世纪的时候,他们来到以色列。邻居们称他们为“切尔克斯人”,意为高山居民,然而他们的原名“阿迪该”(Adigai)却是贵族的意思。17世纪中叶,丝绸之路上的鞑靼人(Tatars)和土耳其人(Turks) 经过切尔克斯人居住的地区,对原本信奉基督教的切尔克斯人受到他们的影响,皈依伊斯兰教。在与俄罗斯帝国旷日持久的战争中被击败后,切尔克斯人被流放到包括地中海在内的奥托曼土耳其地区,以他们著名的军事技巧为奥托曼帝国效力。
Choctaw
1. 复Choctaws,Choctaw乔克托人(住在美国密西西比等地的穆斯科洛人的一支)
2. 乔克托语(乔克托人说的穆斯科洛语)
3. 晦涩难懂的话,莫名其妙的话
confarreatio
The confarreatio was the ancient patrician form of marriage among the Romans, especially necessary at the nuptials of those whose children were intended to be vestal virgins or flamens of Jupiter. The name originated in the bride and bridegroom sharing a cake of spelt (far or panis farreus). It was limited to patricians whose parents were also married with confarreatio. The wedding was an elaborate ceremony with the Flamen Dialis and Pontifex Maximus presiding, as well as ten witnesses present. The woman passed directly from the manus of her paterfamilias to that of her new husband.
Divorce for confarreatio marriages, diffarreatio, was a difficult process and therefore rare. Not much is known about how diffarreatio was carried out except that there was a special type of sacrifice that caused the dissolution of the relationship between the man and woman. She would then pass back into the manus of her paterfamilias. Originally, the confarreatio was indissoluble, and this remained true of the marriage of the Flamen Dialis, who was required to marry by confarreatio.
confarreation
麦饼联姻礼( 古罗马一种最庄严的贵族婚礼仪式,以麦饼奉献朱庇特神,故名) 。这个名称即从麦饼(panisfarreus)而来。举行婚式时须有证人至少十名在场,新婚夫妇必须在大祭司和朱庇特祭司面前食用供神的麦饼。
罗马时期的夫妇有3种可供选择的婚姻形式。Coemptio,类似于现代民间婚礼;confarreatio,类似于今天仪式严谨的天主教婚礼;usus,也就是事实婚姻,按风俗习惯过上一年和睦相处的夫妻生活,婚姻便宣告合法。在这三种形式中,都有新娘把手从父亲那里转移到丈夫那里的习惯。两千多年前,罗马人制定了这些婚俗模式,并延续了几个世纪,直到今天,亚洲、欧洲、非洲和美洲各地都有这种模式的延续,即便存在文化差异,改变的幅度也不是很大。罗马婚俗今天依然在帮助新人们设计未来的婚姻蓝图。
Coemptio
Ancient Roman law recognized three forms of marriage. Confarreatio was marked by a highly solemnized ceremony involving numerous witnesses and animal sacrifice. It was usually reserved for patrician families. Coemptio, used by many plebeians, was effectively marriage by purchase, while usus, the most informal variety, was marriage simply by mutual consent and evidence of extended cohabitation. Roman law generally placed the woman in the “power” of her husband and on the same footing as children.
CONFARREATIO, the ancient patrician form of marriage among the Romans, especially necessary at the nuptials of those whose children were intended to be vestal virgins or flamens of Jupiter. The name originated in the bride and bridegroom sharing a cake of spelt (far or panis farreus), in the presence of the pontifex maximus, flamen dialis, and ten witnesses. This form of marriage could only be dissolved by another equally solemn ceremony, which was called diffarreatio. In later republican times, confarreatio became obsolete except in the case of the most sacred priesthoods - the flamines and the rex sacrorum. Confarreatio was the most solemn of the three forms of marriage (q.v.), but in later times the ceremony fell into disuse, and Cicero mentions but two, coemptio and usus. (See ROMAN LAW.)
Creek
操穆斯科格语(Muskogean)的北美印第安部落,原居住在乔治亚和阿拉巴马的大片平地,经济大体上以种植玉蜀黍、豆类及南瓜为主。妇女耕作,男子外出狩猎或作战。克里克人分为两支︰穆斯科格人,又称上克里克人,居住在克里克土地的北部;希奇蒂人(Hitchiti)和阿拉巴马人,同上克里克人习惯相同,但所操方言微异,称为下克里克人。克里克人的村镇分为白城与红城,白城专门举行和平仪式,红城专门举行战争仪式。他们十分重视等级,但等级是建筑在个人优点——战功或才智——之上而不是通过世袭取得。和大多数东南印第安人一样,他们也喜欢纹身。每个村镇,都有公共广场,环绕广场建有长方形房屋,其四周用木柱涂以泥土构成篱笆墙。屋顶涂有沥青,覆以树皮或茅草,烟囱留在山墙之上。如果村镇有神庙,则神庙为圆形草顶,筑于2.4公尺(8呎)高的土岗上,由岗下至神庙门口砌成阶梯。广场为聚会之所,重要宗教仪式诸如绿谷节等都在这里举行;绿谷节是一年一度的初果和新火仪式。这个仲夏节日的不同之点就在於︰任何坏事、冤情或罪恶在这一天都可得到原谅,但杀人者例外。
1539年德索托(Hernando de Soto)率兵入侵克里克人土地,是为克里克人与白人接触之始。後来克里克人与英国殖民者联合,共同反抗阿巴拉契人(Apalachee)与西班牙人,战争约始于1703年前後,尔後连年兵戎相见。18世纪时一个克里克联盟组成,但以失败告终。1813∼1814年间对美作战的克里克战争(Creek War)爆发,有些城镇与白人并肩战斗,有些城镇抗击白人。克里克人战败後割让其土地的9,200,000公顷(23,000,000,阿拉巴马之半及乔治亚南部部分地区),1830年代,他们被迫迁移到印第安准州(今奥克拉荷马州)。在那里,克里克人与切罗基人、奇克索人、乔克托人及塞米诺尔人并称文明五部落。历经70馀年之久,每一部落各得一份土地并仿照美国政府形式组建准自治政府。1907年,奥克拉荷马准备建州,部落份地部分分配给个体的印第安人;其馀份地由联邦政府签发,对白人垦殖者开放,或分配给获得自由的奴隶耕作。部落政府实际上已於1906年解散,但迄今仍以某种有限形式存在著。现在一些印第安人就在这通称为部落占有的土地上生活著。
20世纪晚期,约有20,000名克里克人生活在奥克拉荷马州,许多人都已采取州内居民生活方式,只在名义上是克里克人而已。其中约15,000人居住在联邦政府签发的份地上。另外一批人更为保守,继续使用克里克语,保持早年城镇组织形式,还继续遵守诸如嫩玉米节庆典的克里克宗教仪式。还有一部分克里克人曾留在阿拉巴马的西南部,其後裔约有500人。这部分人已经不再使用克里克语言,几乎失去全部克里克文化痕迹。佛罗里达州和奥克拉荷马州的塞米诺尔人(Seminole),就是18世纪和19世纪初克里克联盟的一个支系。
http://www.merriam-webster.com/dictionary/akin
akin
Function: adjectiveDate: 1567
1 : related by blood : descended from a common ancestor or prototype
2 : essentially similar, related, or compatible
The Aeneze, the most powerful Bedouin tribe of Arabia, deduce their origin from the Bent.——the tribe Aenezes, a tribe whose settlement lies in the neighborhood of Syria.
Cambro-Norman is a term used for Norman knights who settled in southern Wales after the Norman conquest of England in 1066. Some historians suggest that the term is to be preferred to Anglo-Norman for the Normans who invaded Ireland after 1170 — many of whom originated in Wales.
The most prominent example is Richard "Strongbow" de Clare, whose lands in Wales centred around Pembroke and who led the Norman invasion of Ireland.
In addition to such Cambro-Norman lords, some of Ireland's most prominent families, including Walsh, Joyce and Griffith, were indigenous Welsh families who came with the Norman invasion. Other indigenous Welsh surnames such as Taaffe which came at this time became very important families within the Pale community.
Kandy is the main city in the hill-county of Sri Lanka. The Kandy Valley crosses an area of tropical plantations. The famous tooth of Buddha, a relic symbolising is placed in Kandy.
Cruithnians
The Cruithne or Cruithin were a semi-mythical people, with occasional historic reference in Irish sources, that lived within the British Isles during the Iron Age. Specifically, Cruithne was the contemporary Irish word for the Picts.
According to T. F. O'Rahilly's historical model, the Cruithne were descended from the Priteni, who O'Rahilly argues were the first Celtic group to inhabit the British Isles, and identifies with the Picts of Scotland. They settled in Britain and Ireland between 700 and 500 BC. They used iron and spoke a P-Celtic language, calling themselves Priteni or Pritani,[1] which is the origin of the Latin word Britannia and the Old English words "Briton" and "British".
More recent theories, supported by archaeological evidence, suggest that the Cruithne were a pre-Celtic people, and may have spoken a non-Indo-European language before the spread and dominance of Celtic culture in Ireland and Britain. It is also suggested that these people were the descendants of the aboriginal neolithic people of the isles. Around 50 BC Diodorus wrote of "those of the Pretani who inhabit the country called Iris (Ireland)". The first reference to the name Pict is found in a Latin document dated 297 AD.
It should be noted that Pytheas in about 325 BC is credited with first recording the local name of the islands, in Greek as Prettanike - apparently in connection with the Cornish region - which Diodorus later rendered Pretannia.
In Britain these Priteni were absorbed by later invaders and lost their cultural identity, except in the far north where they were known to the Romans as Picti, or “painted people,” on account of their practice of decorating their bodies with paint or tattoos (a practice which by then had died out among other Celtic tribes). In Ireland, too, the Priteni were largely absorbed by later settlers; but a few pockets of them managed to retain a measure of cultural, if not political, independence well into the Christian era. By then they were identified as Cruithne, P-Celtic linguistic descendants of the Priteni.
Among the Cruthnian tribes that survived were the Loíges and Fothairt in Leinster. The name of the first of these tribes - modernized as Laois - has been revived and given to one of the counties of Leinster (formerly known as Queen's County).
The existence of the Cruithne in Ireland as a pre-Gaelic people has led some (particularly unionists) to advocate the theory that they were not, as some nationalists consider, a "non-native" people.
The language of the inhabitants in Jacqueline Carey's Kushiel's Legacy series is called Cruithne.
Demaratus
Demaratus was a king of Sparta from 515 until 491 BC, of the Eurypontid line, successor to his father Ariston. As king, he is known chiefly for his opposition to the other, co-ruling Spartan king, Cleomenes I. When Cleomenes attempted to make Isagoras tyrant in Athens, Demaratus tried unsuccessfully to frustrate his plans. In 501 BC, Aegina was one of the states which gave the symbols of submission (earth and water) to Persia. Athens at once appealed to Sparta to punish this act of medism, and Cleomenes I crossed over to the island to arrest those responsible. His first attempt was unsuccessful, due to interference from Demaratus, who did his utmost to bring Cleomenes into disfavour at home.
Delaware 德拉瓦人 亦译特拉华人;亦称伦尼莱纳佩人(Lenni Lenape)。操阿尔冈昆语的北美印第安部落联盟,居住大西洋沿岸,约自今德拉瓦州亨洛彭角(Cape Henlopen)至长岛西部,尤其集中于德拉瓦河流域一带地方,联盟之名即取自此河。
德拉瓦人以农业为主,辅以渔、猎。夏季聚为若干村社,人口可达数百之众;冬季则以小型家庭群组形式,游猎於自己的围猎区。德拉瓦人有3个氏族,实行母系制;氏族再分为家族,家族成员一般共同居住在一所长房里。若干家族组成自治村社,1600年时,这类村社约有30或40个。村社内有由各家族族长及其他著名人士组成的议事会,决定公共事务。家族内最年长的妇女有权任免族长。
dichotomous
adj.
分成两个的, 叉状分枝的
Dobuzhoffer
南美印第安人部族
Dungaree, a Hindu goddess living on a Dungar, a moderate size hill or a small mountain.
Ephyra (EF-i-ruh)
* the name of several cities in Greece in early times, including Corinth and Crannon.
*Original name of Corinth. Sisyphus was its founder and first king. Bellerophon was a citizen, although he was exiled for a murder. When he was challenged to fight the Chimaera, he returned to his birthplace and sought out the flying horse Pegasus. He found the winged steed watering at the spring of Peirene, a Corinthian landmark of ancient times. It was said to have been formed from the tears of a mother lamenting the accidental killing of her son by the goddess Artemis.
euhemerism
n.神话即历史论的论点
fraternities
The term "fraternities", often colloquially shortened to "frats", generally refers to all-male or mixed-sex organizations. The female-only equivalent is usually called a "sorority", a word first coined in 1874 at Gamma Phi Beta at Syracuse University; before this, societies for either sex were called "fraternities." Some women's organizations continue to prefer to be called "women's fraternities".
Gandharvas
In Hinduism
In Hinduism, the Gandharvas (Sanskrit: gandharva) are male nature spirits, husbands of the Apsaras. Some are part animal, usually a bird or horse. They have superb musical skills. They guarded the Soma and made beautiful music for the gods in their palaces. A connection between their name and that of the Greek centaurs was proposed in the 19th century, but has met with strong opposition from some Indo-Europeanists.[citation needed]
In Hindu theology, Gandharvas act as messengers between the gods and humans. In Hindu law, a Gandharva marriage is one contracted by mutual consent and without formality.
[edit] In Buddhism
A Gandharva (Sanskrit) or Gandhabba (Pāli) is one of the lowest-ranking devas in Buddhist theology. They are classed among the Cāturmahārājikakāyika devas, and are subject to the Great King Dhṛtarāṣṭra, Guardian of the East. Beings are reborn among the Gandharvas as a consequence of having practiced the most basic form of ethics (Janavasabha-sutta, DN.18). It was considered embarrassing for a monk to be born in no better birth than that of a gandharva.
Gandharvas can fly through the air, and are known for their skill as musicians. They are connected with trees and flowers, and are described as dwelling in the scents of bark, sap, and blossom. They are among the beings of the wilderness that might disturb a monk meditating alone.
The terms gandharva and yakṣa are sometimes used for the same person; yakṣa in these cases is the more general term, including a variety of lower deities.
Among the notable gandharvas are mentioned (in DN.20 and DN.32) Panāda, Opamañña, Naḷa, Cittasena, Rājā. Janesabha is probably the same as Janavasabha, a rebirth of King Bimbisāra of Magadha. Mātali the Gandharva is the charioteer for Śakra.
Timbarū was a chieftain of the gandharvas. There is a romantic story told about the love between his daughter Bhaddā Suriyavaccasā (Sanskrit: Bhadrā Sūryavarcasā) and another gandharva, Pañcasikha (Sanskrit: Pañcaśikha). Pañcasikha fell in love with Suriyavaccasā when he saw her dancing before Śakra, but she was then in love with Sikhandī (or Sikhaddi), son of Mātali the charioteer. Pañcasikha then went to Timbarū's home and played a melody on his lute of beluva-wood, on which he had great skill, and sang a love-song in which he interwove themes about the Buddha and his Arhats.
Later, Śakra prevailed upon Pañcasikha to intercede with the Buddha so that Śakra might have an audience with him. As a reward for Pañcasikha's services, Śakra was able to get Suriyavaccasā, already pleased with Pañcasikha's display of skill and devotion, to agree to marry Pañcasikha.
Pañcasikha also acts as a messenger for the Four Heavenly Kings, conveying news from them to Mātali, the latter representing Śakra and the Trāyastriṃśa devas.
Gandharva or gandhabba is also used in a completely different sense, referring to a being (or, strictly speaking, part of the causal continuum of consciousness) in a liminal state between birth and death.
Belief
There is a belief that these gandharvas will occasionally visit earth and persuade young unmarried women and vanish after making them pregnant and leaving the life of these women in grief.
Goomsur:在印度奥里萨邦.
Iole: In Greek mythology, Iole (Ἰόλη) was the daughter of Eurytus.
Eurytus promised Iole to whoever could beat his sons in an archery contest. Heracles won but Eurytus abandoned his promise. Heracles killed him and his sons, and eloped with Iole. Iole was Heracles's concubine until the latter's death. In accordance with Heracles's death wish, his son Hyllus then married Iole. They had a son named Cleodaeus.
She is mentioned in Euripides "Hippolytus".
Kafiristan,
the historic name for the Nuristan Province in Afghanistan .
Kalmucks
住于美国西部的蒙古人种之一种族, 其语言
Kal·myk (klmk, kl-mk) also Kal·muck or Kal·muk (klmk, kl-mk)n. pl. Kalmyk or Kal·myks also Kalmuck or Kal·mucks or Kalmuk or Kal·muks
1. A member of a Buddhist Mongol people now located primarily in Kalmyk.
2. The Mongolian language of this people.
Kalmyk people or Kalmyks (Kalmyk: Хальмгуд; "Kalmyk" is alternatively translated as "Kalmuck," "Kalmuk," or "Kalmyki") is the name given to western Mongolian people and later adopted by those Oirats who migrated from Central Asia in the seventeenth century. Today they form a majority in the autonomous Republic of Kalmykia on the western shore of the Caspian Sea. Through emigration, small Kalmyk communities have been established in the United States, France, Germany, Switzerland, and the Czech Republic.
Kan·sa /ˈkænzə, -sə/ Show Spelled[kan-zuh, -suh]
–noun,plural-sas, (especially collectively) -sa for 1.
1.a member of a North American Indian people formerly of eastern Kansas, now living mostly in northern Oklahoma.
2.the Siouan language of the Kansa.
Also called Kaw.
kin·dred (kndrd)
pl.n.
Relatives; kindred.
Noun 1. kinfolk - people descended from a common ancestor; "his family has lived in Massachusetts since the Mayflower"
kinfolk also kinsfolk or kinfolks
n.1. A group of related persons, as a clan or tribe.
2. (used with a pl. verb) A person's relatives; kinfolk.
adj.
1. Of the same ancestry or family: kindred clans.
2. Having a similar or related origin, nature, or character: kindred emotions.
kinsfolk
n. 亲属, 血族
1. people descended from a common ancestor; "his family had lived in Massachusetts since the Mayflower"
Koryaks, a people of the Koryak Autonomous Okrug in the Russian Far East, inhabit the coastlands of the Bering Sea to the south of the Anadyr basin and the country to the immediate north of the Kamchatka Peninsula, the southernmost limit of
their range being Tigilsk. They are akin to the Chukchis, whom they closely resemble in physique and manner of life. Also, they are distantly related to the Kamchadal (Itelmens) on the Kamchatka Peninsula.
The Koryak language and its relative, Alutor, are linguistically very close to Chukchi. They are members of the Chukotko-Kamchatkan language family.
kinsmen
Function: noun
Date: 12th century
: relative ; specifically : a male relative
Ladakh (Tibetan script:"land of high passes") Situated in the Indian state of Jammu and Kashmir between the Kunlun mountain range in the north and the main Great Himalayas to the south. Ladakh, which is inhabited by people of Indo-Aryan and Tibetan descent,[4] is one of the most sparsely populated regions in the area.
Ladakh is renowned for its remote mountain beauty and culture. It is sometimes called "Little Tibet" as it has been strongly influenced by Tibetan culture.
Leotychidas [Leotychides, Latychidas] (c. 545 BC–469 BC) was a ruler of Sparta 491 BC-476 BC. He led Spartan forces during the Persian Wars from 490 BC to 478 BC. He is not to be confused with another Eurypontid Leotychides, the (allegedly illegitimate) son of Agis II.
Born in Sparta around 545 BC, Leotychidas was a descendant of the house of Eurypontid and came to power with the help of Cleomenes I by challenging Demaratus for the throne of Sparta in 491 BC. Later that year, he joined Cleomenes' second expedition to Aegina, where ten hostages were seized and given to Athens. However after Cleomenes' death in 488 BC, Leotychidas was almost surrendered to Aegina. In the spring of 479 BC, Leotychidas commanded a Greek fleet consisting of 110 ships at Aegina and later at Delos, supporting the Greek revolts at Chios and Samos against Persia. Leotychidas defeated Persian military and naval forces at the battle of Mycale on the coast of Asia Minor in the summer of 479 BC (possibly around mid-August). In 476 BC, Leotychidas led an expedition to Thessaly against the Aleuadae family for collaboration with the Persians but withdrew after being bribed by the family. Returning to Sparta he was tried for bribery, and fled to the temple of Athena Alea in Tegea. Sentenced to exile, his house was burned and his grandson Archidamus II became the ruler of Sparta. Leotychidas died some years later, around 469 BC.
Le´vir (lē´vẽr)
n. 1. A husband's brother; - used in reference to levirate marriages.
Levirate marriage
is the practice of a woman marrying one of her husband's brothers after her husband's death, if there were no children, in order to continue his line. Levirate marriage has been practiced by societies with a strong clan structure in which exogamous marriage outside the clan was forbidden. Groups that have practiced levirate marriage include the Punjabis and Jats, Israelites, the Xiongnu, the Mongols, and the Tibetans. (For the view of levirate marriage in Judaism, see Yibbum.) The practice was discontinued by the Western Jewish community in the Middle ages, a decision which was extended to most of the Jewish world in the early 1950s.
The term levirate is a derivative of the Latin word levir, meaning 'husband's brother.'
Magar is a Sino-Tibetan ethnic group of Nepal and northern India whose homeland extends from the western and southern edges of the Dhaulagiri section of the high Himalayas range south to the prominent Mahabharat foothill range and eastward into the Gandaki basin. According to Nepal’s 2001 census, 1,622,421 people identified themselves as belonging to the Magar ethnolinguistic group, representing 7.14% of Nepal’s population and making them the largest indigenous ethnic group in the country. According to the census figure, almost all of Magar are Buddhists whereas only a handful are considered to be non Buddhist Hindu..
mandala:any of various ritualistic geometric designs symbolic of the universe, used in Hinduism and Buddhism as an aid to meditation.
Marriage by force or capture goes back to primitive culture when tribal groups were routinely hostile to each other. At that time marriages were "consummated" as the groom captured a desirable woman in the process of conquering and pillaging a rival tribe. The custom of having a "best man" in attendance at the wedding is a holdover from the days in which the grooms best man served as a fellow-warrior. When a man sought to capture a woman from another tribe, he would often bring along his "best" man to assist him in the ensuing battle, thus helping the bridegroom capture and carry away the bride-to-be. In better times and if tribes were on good terms, women could be exchanged easily; if not, they were simply abducted and raped (in Latin, "rape" means "to carry off".) The maid of honor and bride’s maids , on the other hand, were the women who helped the bride get away from her protective family and from other suitors so that she could be captured by the groom she wanted. When such quaint methods of getting the bride and groom together faded in popularity, the honor rules survived.
The honeymoon is a relic of the days of marriage by capture. Frequently the tribe from which a warrior stole a bride would come looking for her, and it was necessary for the warrior and his new wife to go into hiding to avoid being discovered. The honeymoon of today, therefore, evolved as symbolic of the period of time that the bridegroom hid until bride’s kinsmen grew tired of looking for her -- and him as well. According to an old French custom, as the moon went through all its phases the couple drank a wine made with honey called metheglin; hence the honeymoon. Many couples still keep their honeymoon plans a secret even if they are not afraid of being pursed by relatives.
Livonia (Livonian: Līvõmō, Latvian and Lithuanian: Livonija; Estonian: Liivimaa; Finnish: Liivinmaa; German and Swedish: Livland; Polish: Inflanty, Liwlandia; Russian: Лифляндия / Liflyandiya) was once the land of the Finnic Livonians inhabiting the principal ancient Livonian County Metsepole with its center at Turaida. The most prominent ruler of the ancient Livonia was Caupo of Turaida.
During the Livonian Crusade, ancient Livonia was colonized by the Livonian Brothers of the Sword, later called Livonian Order and the name Livonia came to designate a much broader territory: Terra Mariana on the eastern coasts of the Baltic Sea, in present-day Latvia and Estonia. Its frontiers are the Gulf of Riga and the Gulf of Finland in the north-west, Lake Peipus and Russia to the east, and Lithuania to the south.
Livonia was inhabited by various Baltic and Finnic peoples, ruled by an upper class of Baltic Germans. Over the course of time, some nobles were polonized into the Polish-Lithuanian nobility (Szlachta) or russified into the Russian nobility (Dvoryanstvo).
heretics who in the 3rd century followed an Oriental mystic, Mani or Manichaaus. Their tenets were a strange mixture of Christianity with Gnosticism, Buddhism, Zoroastrianism, and other systems. They worshipped the principle of darkness and evil as well as that of light and goodness. They were ascetics, but are charged with gross immorality.' The sect did not die out until the 7th century, and much of its doctrine survived in the sects of the Paulicians, Albigenses, etc., grouped as New Manichseans.
Mosaic Law
The ancient law of the Hebrews, attributed to Moses and contained in the Pentateuch. Also called Law of Moses.
Nair (Malayalam: നായര്, pronounced [naːjar]), is the name of a Hindu forward caste from the southern Indian state of Kerala. They are a Kshatriya caste of Kerala belonging to the Nagavanshi order. The Nairs of Kerala and the similarly matrilineal Bunts of Tulu Nadu in karnataka are thought to be descendants of the Kshatriyas who accompanied the Brahmins to Kerala and Tulu Nadu respectively from Ahichatra/Ahikshetra in southern Panchala. There is also a theory that Nairs are of Indo-Scythian heritage.Before the British conquest in 1792, the Kerala region contained small, feudal kingdoms, in each of which the royal and noble lineages, the militia, and most land managers were drawn from the Nairs and related castes. Nairs were prominent in politics, government service, medicine, education, and law.Nairs constituted the rulers, warriors and landed gentry and of Kerala (pre-1947).
Nairs were traditionally matrilineal. Their family unit, the members of which owned property jointly, included brothers and sisters, the latter's children, and their daughters' children. The oldest man was legal head of the group. Rules of marriage and residence varied somewhat between kingdoms.
Natchez
纳齐兹部族人(印地安人部落, 原居美国密西西比州西南部的印第安人的一个部落, 现已灭绝)
The Natchez Indians inhabited what is now southwest Mississippi ca. AD 700-1730, with the culture at its zenith in the mid-1500s. Between 1682 and 1729 the Grand Village was their main ceremonial center, according to historical and archaeological evidence. French explorers, priests, and journalists described the ceremonial mounds built by the Natchez on the banks of St. Catherine Creek, and archaeological investigations produced additional evidence that the site was the place that the French called "the Grand Village of the Natchez Indians." During the period that the Natchez occupied the Grand Village, the French explored the region and began to make settlements. Relations between the French and the Natchez were cordial at first, but deteriorated as various disagreements and episodes of violence arose in 1716 and again in 1723. In 1729, a pro-English element within the tribe led the Natchez to attack the French colonial platations and military garrison at Fort Rosalie. The French retaliated in such force that the Natchez were forced to abandon their homeland.
OREITHYIA (or Orithyia) was the mountain Nymph wife of Boreas, the north wind, who dwelt with her husband in a cave on Mount Haimos in Thrake. She was probably a goddess of chill mountain winds, since her name means "the mountain rager" and her daughter by the god was Khione (Snow).
Oreithyia was once a mortal princess, who was abducted by the god from the banks of the river Ilissos near Athens. He carried her off to Thrake where she became his immortal wife.
Like Oreithyia her sisters Pandrosos (All Dewy) and Herse (Dew) were also minor Athenian goddesses.
Oreithyia was probably the same as Khione, the consort of Boreas according to some.
The Spiti Valley is a remote area high in the Himalayas situated on the Tibetan plateau with almost no rain and snow-covered for 8 months a year. Although originally Tibetan, it's been part of India since the mid 19th century and virtually closed off from the World for most of the last 50 years.
Otoe[`oto; ˋoutou]
<<名词>>
(pl. Otoe or Otoes)亦作Oto. pl. Oto or Otos
1 奥图族 (往昔居住于美国内布拉斯加州之一印地安部落; 奥图人
2 奥图语(属苏族语系)
<<形容词>>
奥图族的; 奥图语的
The Patagonian Desert, also known as the Patagonia Desert or the Patagonian Steppe, is the largest desert in the Americas and is the 7th largest desert in the world by area, occupying 260,000 square miles (673,000 km²). It is located primarily in Argentina with small parts in Chile and is bounded by the Andes, to its west, and the Atlantic Ocean to its east, in the region of Patagonia, southern Argentina.
Percalus
希罗多德《历史》第六卷1
(64)久而久之,阿里司通逝世了。戴玛拉托斯于是作了国王。但是看来
这些事件注定是要被发现的,而戴玛拉托斯便由于这样一个原因失去了自己
的王位。在这之前,克列欧美涅斯当戴玛拉托斯把自己的军队引离埃列乌西
斯的时候,便是非常仇视他的,特别是这次当克列欧美涅斯本人渡海到埃吉
纳去惩罚支持波斯人的埃吉纳人的时候,便更加仇视他了。
(65)因此,克列欧美涅斯既然想进行报复,他便和戴玛拉托斯家中的一
个人,即阿吉斯的孙子、美那列斯的儿子列乌杜奇戴斯缔结了一项协定,即
如果他使列乌杜奇戴斯代替戴玛拉托斯做国王的话,那未列乌杜奇戴斯要随
他一同去攻打埃吉纳人。原来列乌杜奇戴斯乃是戴玛拉托斯的一个死敌,因
为他曾和戴玛尔美诺斯的孙女、奇隆的女儿培尔卡洛斯订了婚,但是戴玛拉
托斯使用了计谋,夺走了列乌杜奇戴斯的新妇,他把新娘在婚前拐跑而使她
和自己结了婚。这便是列乌杜奇戴斯和戴玛拉托斯反目的理由。而现在由于
克列欧美涅斯的唆使,他便对戴玛拉托斯提出了控诉,起誓说戴玛拉托斯并
不是斯巴达的合法的国王,因为他本来不是阿里司通的儿子;在作出了这个
誓证之后,他便到法庭上去控告戴玛拉托斯,因为他一直记得,当仆人把生
男孩子的事告诉阿里司通,而阿里司通在计算了月份之后曾誓言这个男孩子
并不是他的儿子。列乌杜奇戴斯便以这句话为根据,力图证明戴玛拉托斯根
本不是阿里司通的儿子或斯巴达的合法的国王。他召请五长官前来作证,因
为他们当时都曾列席会议并且听见过阿里司通说这样的话。
(66)结果在这件事上面发生了争论,于是斯巴达人决定到戴尔波伊去请
示神托,问戴玛拉托斯是否阿里司通的儿子。这件事被送到佩提亚那里去,
征求她的意见,这也是克列欧美涅斯出的主意。原来当时克列欧美涅斯曾得
到戴尔波伊最有势力的人物、阿里司托庞托斯的儿子科邦的帮助;这个科邦
曾说服了那里的女祭司培莉亚拉,要她说出克列欧美涅斯要她说的话。结果
当使者向她请示的时候,她便断定说戴玛位托斯并不是阿里司通的儿子。但
是后来,这种行为被发觉了。科邦被驱出了戴尔波伊,而女司祭培莉亚拉也
被褫夺了她的光荣职务。
phra·try (frtr)
n.pl. phra·tries
1. A kinship group constituting an intermediate division in the primitive structure of the Hellenic tribe or phyle, consisting of several patrilinear clans, and surviving in classical times as a territorial subdivision in the political and military organization of the Athenian state.
2. Anthropology An exogamoussubdivision of the tribe, constituting two or more related clans.
Plutarch普鲁塔克
普鲁塔克(Plutarch,约公元46~120年)出身于希腊中部波奥提亚地区喀罗尼亚城(Chaeronea)一个有文化教养的家庭。其父亚里斯托布鲁斯(Aristobulus)是一位传记作家和哲学家。
他幼承庭训,养成了对知识的爱好。青年时期游学雅典,曾受业于名师阿谟尼乌斯(Ammonius),受过数学、哲学、修辞学、历史学以及医学等方面的训练。还曾遍游希腊各地,到过爱琴海诸岛,访问过埃及、小亚细亚、意大利。所到之处,他都极为留心搜集当地的历史资料和口碑传说,从而成为一名饱学之士。后来,他来到罗马讲学,研究罗马的历史,同时结识了许多名人。
他一生经历了罗马帝国前期的3个王朝-尤利乌斯·克劳狄王朝、弗拉维王朝和安敦尼王朝。据说,他曾经为帝国的2个皇帝-图拉真和哈德良-讲过课,并博得了他们的赏识。图拉真曾授予他执政官的高位,后来哈德良又提拔他担任过希腊财政督察。
他一生中的大部分时间是在喀罗尼亚度过的。在故乡,他一面著书立说、开门授徒,一面担任当地的行政长官、参与政治活动。据说他在家乡还开办过一所学校,所授课程以哲学和伦理学为主。晚年他又出任希腊圣地-德尔斐阿波罗神庙的终身祭司。
▲普鲁塔克是一个勤奋而多产的作家。
在他儿子拉姆普里亚斯(Lamprias)为他编订的著作目录里,列举了他227篇著作的书名。这本目录里列举出来的大部分著作已经散失,现在仅存83篇。在现在流传下来的作品中,除了这83篇之外,还有后来发现的、且未被目录收进去的作品18篇,以及仅存残篇的作品15篇。后人把他现存的这些作品分编成2本集子:《道德论集》(Ethica,亦作Moralia)和《传记集》(Parallel Lives)。《道德论集》包括60多篇论文和语录,广泛地探讨了伦理、宗教、哲学、科学、政治、文学等方面的问题,是了解普鲁塔克的生平和思想的重要文献。准确地说,他主要不是一位历史学家,而是一位道德学家。然而,广为流传并使他久负盛名的却是那本包括50篇传记的《传记集》,而不是《道德论集》。
▲普鲁塔克所生活的时代,正值罗马帝国的鼎盛时期。
当时,地中海周围的不同民族、不同文化之间的交流和融合日趋强化,特别是占主导地位的希腊文化和罗马文化彼此影响、相互结合,逐渐形成了"希腊―罗马文化",迎来了欧洲古典文化的又一个高峰。普鲁塔克的学术成就代表并反映了这种文化融合的趋势和现状。
普鲁塔克撰写的《传记集》又被称为《希腊·罗马名人合传》,就是他身上所反映出来的这种文化融合趋势的集中体现。此书显然是想强调一个历史事实,即希腊和罗马都曾有过辉煌的历史、都产生过同样杰出的历史人物、都是了不起的民族。
正是出于这种考虑,普鲁塔克在著作的结构安排上也是独树一帜、寓意深刻的。在《传记集》中,除了4篇是单独的1人1传之外,其余的46篇都是以类相从,组合成了23对合传。他从希腊和罗马历史上的古代伟人中,各挑选出1个他认为命运和气质相类似的人物、以对照比较的形式分别为他们立传,最后再加上一篇类似短评的文章,构成一部合传的全部内容。譬如:他把马其顿的亚力山大与罗马的恺撒组成合传,就是因为他认为这2个人都是杰出的军事家和政治家、都怀有极大的野心,又都精于战术、果断勇敢、富有冒险精神、不辞艰辛,也都很幸运,并且都无视关于他们自己的灾异等。
作为一个希腊人,普鲁塔克撰写的希腊名人传都是很成功的;相比之下,罗马名人的传记却写得不尽如人意。尽管他在罗马生活过相当长的时间,但是他对罗马的历史、制度和习俗仍然比较生疏,再加上他不能熟练地阅读拉丁文的文献(只是晚年学过拉丁文),以致于影响了他的发挥。
▲普鲁塔克的哲学观点也是他所处时代的典型的折衷物。他兼取柏拉图、亚里斯多德、斯多噶以及毕达哥拉斯等各派之说,尤其重视伦理道德问题。
普鲁塔克认为:人生应当以道德为准绳,应当受理性的节制,要中庸克己、符合人道、不慕荣华、不图虚誉。他为希腊和罗马的古代名人立传,主要不是写历史,而是为了通过对传主进行伦理上的评价、并以此来阐发自己的伦理思想,最终目的还是为了垂训世人。在《亚力山大传》的序言中,他明确地写道:"我所写的,不是历史的书,而是一部传记。在许多著名的事迹里,并不一定能够看出这些英雄伟人道德或不道德的一面,而一些小小的行动及言语,常常比造成数万人死亡的战争、或大规模的布阵、或对城市的攻防,更能显示出一个人的性格。……我把大事迹或战争的部分让给他人去写,我只写人物心理方面的特征,用这种方法来叙述或描写每个英雄或伟人的传记"。
同这种写作宗旨相一致,普鲁塔克在写作过程中采用了夹叙夹议的笔法,常常从一个事件的叙述中引伸出他的伦理思想。譬如在《梭伦传》中,他叙述完梭伦访问米利都的泰勒斯、并得知泰勒斯不关心娶妻生子的原因是害怕失去亲人的痛苦一事后,发了很长的一段议论:
"如果由于害怕失掉就不去获得必需的东西,这既不合理,也不足贵。因为按照这一原则,一个人就会为了害怕失掉的缘故,不可能从占有财富、荣誉、智慧而得到满足。的确,即令像德行这种世界上最宝贵、最可爱的财产,也每每会被疾病和药物所夺。泰勒斯本人虽然没有结婚,也还是不能完全摆脱忧虑,除非他不要朋友、不要亲戚、不要祖国。……当一个人没有受过理性的锻炼,不能忍受命运袭击的时候,使他受到无穷痛苦和恐惧的,并不是仁爱,而是脆弱。这种人即使得到了他所渴求的东西,也不会享到快乐;他会经常满怀忧惧和挣扎,生怕将来失掉。无论如何,我们决不可用贫穷来防止丧失财产,用离群索居来防止失掉朋友,用不育子嗣来防止死掉儿女;应该以理性来对付一切不幸"。
像这样的道德说教,几乎在每一篇传记中都可看到。
▲这种写作态度,使得普鲁塔克不能够完全遵守作为一个历史学家所必须具备的严谨作风,以致于影响了他在史学上的地位。
在他看来,是否准确地反映了历史真相、历史年代是否准确无误等等都是次要的。他的目的只是通过记述传主的一些生平事迹,收集并列举一些能够成为后世楷模的品德和人格的实例而已。
正是在这种原则的指导下,他在《梭伦传》中再一次绘声绘色地记述了梭伦与克洛苏斯的那场对话。尽管他事先清楚地知道这件事情是不真实的,但是就因为这场对话很有教育意义,所以他舍不得放弃。同时他还为自己写了一段辩护词:"有人企图根据年代记来证明它是虚构的。但是既然一个故事这样著名、这样确凿有据、尤其是这样与梭伦的品格相符、这样和他的雅量与智慧相称,我就不能因遵守任何年代记的条规而主张将它否认"。由此便产生了他在选择史料时的片面性,产生了他那喜欢描写人物心理细节和奇谈逸事的写作倾向,也导致了他的历史方法的非批判性。
然而,我们应该充分肯定地看到:普鲁塔克的传记作品绝大多数是有事实根据的,甚至还由此而保留了许多原著已经丧失的希腊古诗和戏剧作品的内容,再加上他在引用这些古代作品时往往都标出它们的来源,因而他的《传记集》仍不失为一部研究古希腊和古罗马历史时必不可少的要籍。又由于传主们都是那个时代的风云人物,因而我们可以通过他们看到那个时代的缩影。后人关于古代希腊、罗马历史上伟大人物的印象,大多来源于这部传记作品。
▲从文学的角度来看,普鲁塔克堪称是一位刻画、描写人物的高手。
他善于从传主的生平经历及诸多事件中,提炼出一、二件能够反映其性格特征的小事、作点睛之笔,从而使得人物的形象更加丰满、性格更加鲜明。同时他还善于运用对比的手法来描绘人物的外貌和性情,因而能给读者留下更加深刻的印象。
普鲁塔克的这种优美生动的文笔,有助于《传记集》的传诵,对后世产生了巨大的影响;他所宣扬的伦理观念,对后来文艺复兴时期人文主义思潮的兴起,也起了极大的启迪作用。
尤其值得一提的是,普鲁塔克的《传记集》完善了自色诺芬草创以来的传记体史书的体例,最终确立了西方史学中传记体史书的地位,对西方史学的发展作出了不可磨灭的贡献。
PLUTO
1. A daughter of Oceanus and Tethys, and one of the playmates of Persephone.
2. A daughter of Cronos or Himantes, became by Zeus or Tmolus, the mother of Tantalus.
普路托,海洋女仙。该女仙并没有具体事迹。由于名字和冥王的名字普路同(plutone)是同一词源,意云富,经常被人误会是冥王。宙斯和女仙普路托生下的儿子非常有名,就是坦塔罗斯。
punaluan
a. pertaining to primitive group marriage of a number of brothers to a number of sisters. 旧译普那路亚婚、群婚,又译伙婚。
Rio Negro (Portuguese: Rio Negro, Spanish: Río Negro, English: Black River) is the largest left tributary of the Amazon and the largest blackwater river in the world. It has its sources along the watershed between the Orinoco and the Amazon basins, and also connects with the Orinoco by way of the Casiquiare canal. In Colombia, where the sources are located, it is called the Guainía River. Its main affluent is the Vaupés, which disputes with the headwaters of the Guaviare branch of the Orinoco, the drainage of the eastern slope of the Andes of Colombia. The Rio Negro flows into the Rio Solimões to form the Amazon River below Manaus, Brazil.
Rio Negro is navigable for 450 miles (720 km) above its mouth for 4 feet (1 m) of water in the dry season, but it has many sandbanks and minor difficulties.
In the wet season, it floods the country far and wide, sometimes to a breadth of 20 miles (32 km), for long distances, and for 400 miles (640 km) up. During this time, from April until October, it is a succession of lagoons, full of long islands and intricate channels as far as Santa Isabel do Rio Negro. The foothills of the Andes begin just before reaching the Vaupés River. At this point, the Negro narrows and is filled with many large rocks over which it violently flows in cataracts, rapids and whirlpools. Despite the impediments, canoes and motor launches ascend past São Gabriel da Cachoeira to the Andes.
The mouth of the Rio Negro at the "Meeting of Waters": the dark Rio Negro meeting the silty Amazon River.
While the name Rio Negro means Black River, its waters aren't exactly black; they are similar in color to strong tea. The dark color comes from humic acid from incomplete breakdown of phenol-containing vegetation from sandy clearings. The river's name arises from the fact that it looks black from afar.
Much has been written on the productivity of the Rio Negro and other blackwater rivers. The older idea that these are "hunger rivers" is giving way, with new research, to the recognition that the Rio Negro, for example, supports a large fishing industry and has numerous turtle beaches. If the Negro was empty of Indians during the 17th century, introduced exotic diseases and warfare are more likely causes than low river productivity.
Sabine
萨宾人(古代意大利中部一民族,公元前3世纪被罗马征服), 萨宾语(古意大利中部一民族,公元前3世纪被罗马征服)
singular solution
一种数学解,它不含任意常数也不是特解。
http://journal.xznu.edu.cn/jksearch/qkqw/2004418.pdf
http://221.232.154.148/courese/web/2007/4.ppt#260,5,§4.1 一阶隐式微分方程
http://221.232.154.148/courese/web/content1/kechengjiangyi/26.htm
http://lxy.hutc.zj.cn/baomi/special/cwffc/upfiles/2005526102817704.doc
http://lxy.hutc.zj.cn/baomi/special/cwffc/upfiles/2005526102233927.ppt#294,26,幻灯片 26
theogony
Tu·ra·ni·an
Pronunciation (t-rn-n, -rä-, ty-)
adj.
Of or relating to the Ural-Altaic languages or to the peoples who speak them.
n.
1. See Ural-Altaic.
2. A member of any of the peoples who speak languages of the Ural-Altaic group.
Tu`ra´ni`ans
n. pl.1. (Ethnol.) An extensive division of mankind including the Mongols and allied races of Asia, together with the Malays and Polynesians.
Toorkomans:Turkistan is that part of South Tartary, north-east of the Caspian sea,
and has been celebrated from very early times, for producing a pure and
valuable breed of horses. They are called Toorkomans.
Tyndarus the king: king of Sparta, legendary descendant of Zeus and son of Œbalus, husband of Leda, and father or stepfather of Castor, Pollux, Helen (later Helen of Troy) and Clytemnestra. Hercules had restored him to his throne on the condition that he bequeath it to his descendants, the Heraclidae.
universitas
在中世紀,人們把沿著同一方向朝同一目標共同行動的一群人稱為universitas。同宇宙都源自希臘語的κoσμoζ,古希臘人認為宇宙的創生乃是從渾沌中產生出秩序來,κoσμoζ其原意就是秩序。
安那托利亚,又名小亚细亚或西亚美尼亚,是亚洲西南部的一个半岛,位于黑海和地中海之间。现时安那托利亚的全境属于土耳其。但亚美尼亚及争取独立的库尔德斯坦都指称拥有该半岛的部份或全部主权。
名字的意思
安那托利亚是土耳其语,意思就是“被母亲充满”或“太阳上升”,隐含着这片地方位于欧洲东部的意思。其含义同中国的扶桑、空桑、穷桑很接近。穷也可以是充满的意思。
表亲婚禁忌
“骨血不倒流”是民间针对单向舅表婚的一种禁忌习俗。舅表婚又称中表婚,中表即内外,舅子为中、为内,姑子为表、为外,俗以为姑母和父亲的血脉相同,娶姑家的姑娘为媳妇便是“回头婚”。因此,“骨血不倒流”的说法是反对姑家的女儿嫁给舅家的儿子的。汉、满族都有此忌讳。南方还有“骨肉还乡,家败人亡”的俗语流传。云南一些壮族城区也有此禁忌。达斡尔族、拉祜族、景颇族等忌之尤甚。景颇族有“丈人种”和“姑爷种”的婚姻习俗,这是依父亲亲属观念来表达一种姻亲关系,和汉、满族的“姑母做婆”相一致。其含义是:姑母的儿子有权而且必须娶舅父的女儿为妻,或者说,侄女一旦坠地就注定要当姑家的儿媳,而舅父的儿子却绝不容许娶姑家的女儿为妻。把这个意思扩大,即为:凡姑爷种姓氏的任何一男子必须娶丈人种姓氏的任何(同辈的)女子,而丈人种姓氏的男子却不准倒娶姑爷种姓氏的女子。景颇族人普遍恪守这一婚姻禁忌习俗。如果舅家有女儿,外甥在求偶时违背惯习要向别姓氏的丈人种求亲,必须事先向舅家送礼,征得舅家的同意方可。舅家同意了,还要向表姊妹道歉,为之“洗脸”。如果舅家无女儿或女儿的年龄和外甥不相当,外甥不得已另找丈人种时,也必须征得舅父的同意,否则,亲戚关系就会被破坏,这是很受忌讳的。丈人种与姑爷种的姻亲关系因故中断,想再恢复时,姑爷种一方可向丈人种一方送礼认亲。如对方同意,则以酒食相待,并回送一支火药枪和一对手镯。这样双方就算恢复了姻亲关系。虽然这种单向的舅表婚是禁止“骨血倒流”的,有其合理的一面,但其另一方面,即“丈人种”、“姑爷种”婚姻习俗,也是属于近亲结婚的,其对子孙的繁衍和人类的发展的危害也是很大的,因此,婚姻法中对此也是禁止的。
中国民间许多地区,曾经热衷于表亲婚,并称之为“亲上加亲”,认为是喜中之喜。后来,新的婚姻法有了近亲不得结婚的规定,才逐渐改变了这种习俗。过去,土家族、布依族、傈僳族、瑶族、壮族等都有姑表亲(又称姑舅表亲)的习俗。姑家的女儿必须嫁给舅家的儿子,舅家有优先娶外甥女的权利。土家族的俗语说:“姑妈女,顺手娶;舅舅要,隔河叫。”布依族若姑之女不同意,女家要向舅家交纳“舅爷钱”。某些壮族地区流传着“除了青岗无好柴,除了郎舅无好亲”的说法。广西天峨县白定乡壮族称这种姑舅表婚为“借姑过表”。即把舅家娶姑家女儿为媳作为当年姑出嫁的一种赔偿。即使舅表是有残疾的,或者年龄过小或过大也无可更改,否则便用强硬手段逼迫成婚。只有舅家不愿意娶甥女时,甥女才可嫁于别人。瑶族在舅父无子,姑之女嫁于他人时,其聘礼出舅父领取。可见表亲婚的规约习俗是带有某种民法性质的,违反了其中的习俗规约即是犯禁行为,势必受到谴责和惩罚。另外,景颇族、侗族和彝族等还恪守姨表不通婚的习俗。其规矩也是很严厉的,族民一律不得违反。彝族人就认为,姨表兄妹等于亲兄妹,严禁通婚,违者处死。这种姨表不通婚虽说符合近亲不婚的原则,但它往往又是以姑表通婚、舅表通婚等近亲通婚为习俗的另一面的。而从优生学的角度来讲,凡是近亲结婚都是不好的,所以一切表亲婚姻都应彻底地革除。只有这样,才是有利于民族和人类的健康发展的。
平行从表婚
婚姻习俗的一种。这种婚俗在某些地区是通例,而在另一些地区则是禁例。平行从表指同性的同胞的子女,即兄弟的子女以及姊妹的子女。按照父系的观念,两兄弟的子女为从兄弟姊妹,两姊妹的子女为姨表兄弟姊妹。姨表兄弟姊妹之间不通婚,其原因可追溯到母系社会的氏族外婚制。在群婚时期,姊妹的子女都是兄弟姊妹,属于同一氏族,因而在禁婚之列。在近现代,世界上有不少原始部落禁止姊妹的子女间通婚。中国的景颇、苗、彝、侗等民族,姨表不婚,是和姑舅表优婚配(见交错从表婚)同时并行的。而在维吾尔、乌孜别克、塔吉克等族和部分汉族中,姨表兄弟姊妹结婚却是通例。多数民族从兄弟姊妹不通婚,因为在父系社会里,他们是近亲。但也有例外,怒、维吾尔、乌孜别克、塔吉克等民族,从兄弟姊妹也可以通婚。在国外,阿拉伯人也盛行从兄弟姊妹通婚。 古代埃及、秘鲁、 日本皇室自视门第高贵,不与其他贵族通婚,只在近亲内寻求配偶,从兄弟姊妹也在通婚范围内。
五行八卦与麦克伦南的部落定义
(作者置顶)
一、前言
美国著名人类学家摩尔根在其名著《古代社会》(1887)中进一步发挥《人类家族的血亲和姻亲制度》( the Systems of consanguinity and affinity of the human family 1871)一书中提出的家庭进化理论,全面阐述人类社会从低级阶段发展到高级阶段的进化理论。他首次将氏族、胞族等概念引入近代人类学中,指出氏族是人类各族普遍存在过的社会组织。摩尔根的友人、英国人类学家麦克伦南在《古代历史研究》(1876,包括《原始婚姻》重印本)中对摩尔根的整套理论提出严厉的批评。关于部落的结构,麦氏提出了一个复杂的部落体系理论,他给部落体系和部落下了七条定义,摩尔根在《古代社会》附录《回驳约·弗·麦克伦南先生的〈原始婚姻〉》中的引文如下:
纯外婚制。——1.部落(或家族)体系。——各部落之间是分离的。每一部落中的一切成员均同血统,或号称如此。部落成员之间禁止通婚。
2.部落体系。——部落是家庭群体的集合体,下分为区、克兰、萨姆等。同区的成员不能通婚;一切区之间均可通婚。
3.部落体系。——部落是家庭群体的集合体。***凡姓氏指明其为同一血统者,不能通婚。
4.部落体系。——部落划分为区。同区的成员不能通婚;某些区之间可以通婚;其余各区之间仅部分人可以通婚。***
5.部落体系。——部落划分为区。同血统者不能通婚;每一区与其他某区之间可通婚。某些区之间不能通婚。种姓等级制。
纯内婚制。6.部落(或家族)体系。——各部落之间是分离的。每一部落中的一切成员均同血统,或号称如此。婚姻在部落成员之间进行;部落之外禁止通婚,通婚者将受惩罚。
7.部落体系不明。***异体字是我用的。[译者按:中译本用着重点。](摩尔根《古代社会》,商务印书馆,1987,第518页)
我在做历史民族地理的论文时,由秦汉时期南方民族交纳赋税的家庭或家族集团——賨的研究发现,賨的结构正是摩尔根所说的氏族、胞族、部落的结构。对于以亲属制度为基础的部落结构的研究,摩尔根在细节上提出了许多基于调查材料的可贵的推论和假设,但麦克伦南对部落结构的整体分析更加杰出。
在中国宗法制度研究中,不少学者主张引入和借鉴国外人类学用数理方法进行的世系群研究。殊不知中国自有用数理方法表述亲属制度、婚姻关系的传统。摩尔根由澳大利亚土著卡米拉罗伊人婚级制度的神奇复杂(它实际上的复杂性远超出摩尔根的认识)得出结论:
人类的一切主要制度都是从早期所具有的少数思想胚胎进化而来的。……这些思想胚胎的进化受着一种自然逻辑的引导,而这种自然逻辑就是大脑本身的一个基本属性。……原始的思想胚胎对人类的心灵和人类的命运产生过最有力的影响,这些思想胚胎中,有的关系到政治,有的关系到家族,有的关系到语言,有的关系到宗教,有的关系到财产。(同上,第59页)
在中国传统思想中,五行作为一种分类原则,几乎被运用于自然和社会的所有领域。阴阳五行则是更精致的分类体系,在中医中有大略保留。将五行分阴阳,按先天八卦的模式阴阳组合,可以导出与麦克伦南的部落体系吻合的制度结构。五行原则曾经几乎支配着中国一切重要制度,阴阳五行作为分类体系,其源头当即复杂而至今仍然难解的人类早期婚姻制度,阴阳五行、八卦,可能还有大衍术所要揭示的正是摩尔根所说的自然逻辑。我把由自然逻辑所引导,能够包容世界各族部落社会的多样性和同一民族的部落社会在不同历史发展阶段表现出的多样性的基本框架称为“部落系谱的架构”。换句话说,部落系谱的架构能够包容部落社会各种类型的世系群。世界各族都曾用神话、传说、仪式、数理等语言对这一架构进行解释。本文主要用五行、八卦同麦氏定义相互阐释,说明部落系谱架构的逻辑和结构。
二、五行、八卦同麦氏定义的互释
1、摩尔根反对把专偶制家族看作自古以来一成不变的家族形态,认为家族的观念经历了几个顺序相承的发展阶段,专偶制家族是一系列家族形态中最后的一种形态。(同上,第381页)他把家族分为如下五种顺序相承的不同形态,认为每一种形态都有其独具的婚姻制度:
(一)血婚制家族 这是由嫡亲的和旁系的兄弟姊妹集体相互婚配而建立的。
(二)伙婚制家族 这是由若干嫡亲的和旁系的姊妹集体地同彼此的丈夫婚配而建立的;同伙的丈夫们彼此不一定是亲属。它也可以由若干嫡亲的和旁系的兄弟集体地同彼此的妻子婚配而建立;这些妻子们彼此不一定是亲属。不过,在上述两种情况下,往往对方彼此也都是亲属。无论哪一种情况,都是一群男子伙同与一群女子婚配。
(三)偶婚制家族 这是由一对配偶结婚而建立的,但不专限与固定的配偶同居。婚姻关系只有在双方愿意的期间才维持有效。
(四)父权制家族 这是由一个男子与若干妻子结婚而建立的;通常由此产生将妻子幽禁于闺房的风俗。
(五)专偶制家族 这是由一对配偶结婚而建立的,专限与固定的配偶同居。
麦克伦南怀疑并否认摩尔根对马来亚式亲属制的起源、对土兰尼亚式和加诺万尼亚式亲属制的起源所作的解释。(同上,第405页)摩尔根在建立他的家族形态序列时逻辑上不理想,(参阅《古代社会》第三编《家族观念的发展》第一章《古代家族》第397页怀特注)单就他的血婚制家族的证据来说,也不能令人信服。
摩尔根把马来亚制亲属制度看作血婚制家族曾经存在的证据。他说:“马来亚制……所承认的血缘关系只有基本的五种,没有性别之分。一切血亲不论远近一律归纳到分为五类的亲属关系之中。因此,我自己,我的兄弟姊妹,我的从、表、再从、再表、三从、三表以及更疏远的从表兄弟姊妹都属于第一等或第一类。所有这些人不加区分一律都是我的兄弟姊妹。这里所用的从表兄弟姊妹一语是根据我们的意识使用的,波利尼西亚人并不知道这种亲属关系。我的父母以及他们的兄弟姊妹,他们的从、表、再从、再表和更疏远的从表兄弟姊妹属于第二等。所有这些人毫无区别一律都是我的父母。我的祖父母、外祖父母以及他们的兄弟姊妹和他们的种种从表兄弟姊妹属于第三等。所有这些人都是我父母的父母。在我之下,我的儿女以及他们的种种从表兄弟姊妹,同前例一样,属于第四等。所有这些人毫无区别一律都是我的子女。我的孙男、孙女以及他们的种种从表兄弟姊妹属于第五等。所有这些人同样都是我的孙男孙女。此外,同一等中的一切个人彼此都是兄弟姊妹。通过这种方式,任何人的一切可能的亲属就都被纳入这五类中去了;每一个人都用相同的亲属称谓称呼与之处于同一类中的任何其他人。……同样的类别法也出现在中国人的‘九族’制之中,这种制度扩展为包括再加上两代祖先和两代后裔在内的制度。”由这种亲属制度,摩尔根假定存在同辈亲兄弟姊妹和从兄弟姊妹集体相互通婚的情形。
中国的九族一般解释为高祖玄孙之亲,也还有其他的解释。即使用《尚书》伪孔传的高祖玄孙之亲的解释(摩尔根说的一个中国古代作家的话当本此),九族也是相当于摩尔根所谓专偶制内的九世亲属,同远古亲属制度没有任何直接关联。波利尼西亚人是否除了五辈亲属之外不知道任何其他的亲属关系姑置不论。摩尔根的证据远没有达到“确凿无疑”的程度,也就不能用来支持他的“血婚制家族”的假说。
从一些哺乳动物趋向于防止近亲交配的本能看,假定人类最古老的家族制度存在亲兄弟姊妹的性结合,不如假定人类在有亲属意识之初就有了防止这种结合的机制,并随着社会的复杂化而不断完善。麦克伦南的部落体系反映了部落亲属制度和婚姻制度的复杂性。
部落成员往上追溯世代,按血缘关系归属于处在部落系谱不同层次(可以同辈分严格对应)的各个亲属单位。反过来,部落系谱的架构可以从处于最高层的五个单位开始推演而得。可以用中国古代的并具有信息论特征的概念称之为“五位”。用集合表示:
S0={A,B,C,D,E}
五位之间是分离的,也就是麦氏定义1所说部落之间是分离的。同属一位的部落成员有共同的血缘,或被认为如此。部落成员之间禁止通婚。
《周易·系辞传上》:
天一,地二,天三,地四,天五,地六,天七,地八,天九,地十。天数五,地数五,五位相得而各有合。天数二十有五,地数三十,凡天地之数五十有五,此所以成变化而行鬼神也。
扬雄《太玄经·玄数》的五行为:三八为木,属东方,日甲乙;四九为金,属西方,日庚辛;二七为火,属南方,日丙丁;一六为水,属北方,日壬癸。五五(十)为土,属中央,日戊己。五位无性别,或者说是阴阳合体的,如先秦两汉的伏羲女娲画像。将五位分阴阳对应女性和男性——实际上应如《老子》称雌雄或牝牡,即雌性和雄性祖灵或图腾,或如《周易》称鬼神——给以两种序号,后一种,即《太玄经》的,配以十干:
五位的通婚关系如图一所示,图中每条线代表一种通婚关系:
图1
按《太玄经》的序号和方位(古图同今天东西相反,南北颠倒),可将图一变形为等价的图二:


图2
《尚书·皋陶谟》云:禹治水“外薄四海,咸建五长”。皋陶“令民皆则禹,不如言,刑从之。”(《史记·夏本纪》)传说中的大禹时代五长制很明确并相当普遍,五长是因部落结构的五位而设。《史记·匈奴列传》云:匈奴之先淳淮,为夏后氏之苗裔,周穆王伐其后犬戎,得四白狼,四白鹿。《汉书》载此事谓同时获得的还有五部大人。《左传》哀公四年载,晋人诱执叛楚的蛮子赤及其五大夫归于楚。《越绝书》有多次越王勾践与其五大夫进行具有仪式性的会议的记载。《后汉书·南蛮西南夷列传》云:巴郡南郡蛮“本有五姓,巴氏、樊氏、曋氏、相氏、郑氏”,初未有君长,后巴氏子务相臣四姓之子,是为廪君。同书同传载零阳蛮有五里精夫,“澧中、溇中蛮反,州郡募五里、六亭兵击破之”,五里、六亭渠帅被赐金帛。东汉讨伐叛蛮,常募五里、六亭蛮。蛮人的里、亭同郡县制下的不同,但借用了其名称。五里渠帅虽在县令之下,但非普通的里长可比。五里也是因部落结构而设。《禹贡》五服中整齐划一的里也应源于部落结构(但后来被作了简单化处理),因为部落系谱架构的通婚单位是极其规整的。
《后汉书·南蛮西南夷列传》武陵有“五溪蛮”。《宋书·蛮传》西阳蛮又称“五水蛮”。《十道志》说巴氏“五子流入五溪,各为一溪之长,是为五溪蛮。 ”五溪、五水初时并非无条河流的名称,而是部落称号,即《宋书·蛮传》说的“殊类诡号”。这里所谓的部落是从麦氏定义来的,实际上是通婚单位,因为部落之间的通婚关系,部落并不按地域,如一溪一水自为一聚。《太平御览》卷54引《郡国志》云:“武都沮水之西有角努谷,即蜀将姜维降五部溪羌之所。”同书卷167引作“五部溪蛮”。又同书卷52引扬雄《蜀本纪》云:“秦王献五美女于蜀王,属王遣五丁迎五女,见大蛇入山穴中,五丁引蛇,山崩,五女上山,化为石。”又卷65引《湘中记》:“五美水,在长沙县东二十五里,光武时,有五美女居于此溪之侧,后因为名。”五溪、五水、五丁五女、五美皆应源于五部或五位。五龙、五帝、蜀人之五牛、粤人之五羊等等皆应指S0层的五位。
五位居于抽象复杂的分类体系的最高层,常被通俗而错误地理解成具体的祖孙五辈之亲。《太玄经》以帝太昊神勾芒、帝少昊神蓐收、帝炎帝神祝融、帝颛顼神玄冥、帝黄帝神后土配东西南北中五方。五方并列,五帝自然也不该有前后之别。但此外关于五帝是哪五帝虽有多种说法,一般却都把他们看作五个先后相承的统治者。日本《古事记》最高神是五别尊神,其次是神世七代。后者前两代同五别尊神一样隐身独坐,无姓别,后五代则是五对兄妹,但只有最后一代伊邪那岐命与伊邪那美命媾生国与诸神。五别尊神和兄妹十神都是指五位,但前者可能羼进了《周易》参两思想,(参阅王家骅:《试论儒家思想对日本〈古事记〉的影响 》,《南开学报》1986年第2期)后者并且也把五个类别理解成了世代。摩尔根对马来亚亲属制度的五类血缘关系是否作了同样的理解,需要对他的著作和波利尼西亚的亲属制度作深入的了解。
2、麦氏定义2有对定义1的说明。S0的五位作为类别单位或部落没有性别或阴阳。但与部落成员相联系时,就要考虑阴阳了。五位分阴阳,便各为一区。即:
A0={A+,A-}
B0={B+,B-}
C0={C+,C-}
D0={D+,D-}
E0={E+,E-}
表2
A+、A-等表示部落男女成员在S0层的所属。麦氏定义2“同区的成员不能通婚”可以看作对定义1“部落成员之间不能通婚”的另一种说法。
五位相合滋生出十个新的单位,也就是在S0层能够看到的所有通婚关系及所得到的结果:
S1={(BA),(CA),(DA),(EA),(CB),(DB),(EB),(DC),(EC),(ED)}
《山海经•大荒南经》云:“羲和者,帝俊之妻,生十日。”郭璞注曰:“言生十日各以日名名之,故言生十日,数十也。”将十日、十子理解为10位,便可明了十日神话的现实意义。商王的十日庙号当即“以日名名之”之意。古希腊的10个鄂拜也是指10位。
《史记》卷116《西南夷列传》云:“西南夷君长以什数,夜郎最大;其西靡莫之属以什数,滇最大;自滇以北君长以什数,邛都最大:此皆魋结,耕田,有邑聚。其外西自同师以东,北至楪榆,名为嶲、昆明,皆编发,随畜迁徙,毋常处,毋君长,地方可数千里。自嶲以东北,君长以什数,徙、筰都最大;自筰以东北,君长以什数,冉駹最大。其俗或土著,或移徙,在蜀之西。自冉駹以东北,君长以什数,白马最大,皆氐类也。此皆巴蜀西南外蛮夷也。”汉时的西南夷无一例外地君长以十数,即部落全部整齐地以成数十划分,决非偶然。
(BA)有两个分支BA——B+与A-的相合、AB——A+与B-的相合,字的排列遵从习俗的“男左女右”。S1统有20个单位,按《老子》的雌或牝归类:
A1={BA,CA,DA,EA}
B1={AB,CB,DB,EB}
C1={AC,BC,DC,EC}
D1={AD,BD,CD,ED}
E1={AE,BE,CE,DE}
表3
由于早期人类学的粗糙,对于一般作者笔下的克兰、萨姆以及胞族、氏族等单位很难明确它们在复杂的部落组织中确切的位置。可以姑且把S110位的每一位如(BA)称为克兰,其分支如BA、AB称为萨姆。胞族、氏族是更便利的概念。但与摩尔根的部落、胞族、氏族的三层结构不同,本文的胞族、氏族处在多层次的部落之中,各层胞族、氏族的结构各不相同。
3、摩尔根《古代社会》对麦氏定义3的引用有删节。麦氏原文是:
3. Tribal system.- Tribe a congeries of family groups embracing several village communities or nomadic hordes: members of families (or primitive stock groups) somewhat interfused. Noconnubium between persons whose family name points them out as being of the same stock.
[译文]:3.部落体系。——部落是家庭群体的结合体,包含若干村落或游牧部落:家族(或本初同血统的家庭群组)成员有些混杂,凡姓氏指明其为同一系统者不能通婚。
这条定义颇难理解。摩尔根的删节当是由于理解不足。
表3的每个单位在按母系归类的前提下,又按S0外婚原则,其理论上的可通婚对象是16个,以BA氏族为例,其在A1之外的16个单位分为三类:
(1)与有两个相同元素者:AB
(2)与有一个相同元素者:CB、DB、EB,AC、BC,AD、BD,AE、BE
(3)与无相同元素者:DC、EC、CD、ED、CE、DE
第一类的AB与BA同属S1的(BA),应不能通婚。如与部落成员相联系,可以说成“我”即BA的“母”与“配偶”AB的“父”有共同的本初血统,“我”的“父”与“配偶”的“母”也有共同的S0层本初血统。如果单考虑“我”与“配偶”的“父系”或“母系”血统,这种结合是允许的。但考虑双系血缘时,这是血缘最近的结合,是禁止的。
第二类的结合也不违背S0层禁止原则。但考虑双系血统时,配偶双方必有共同的本初即S0血统,也被禁止。如果只考虑单系血统,部落将不会混入其他血统,惟其考虑双系血统时,家族成员的血统才会有混杂。因此,部落的姓氏必然反映成员父母双方的(本初)血统。
第三类中结合的双方没有共同的血统,是“符合优生原则”的。BA及AB的可结合对象可以看作来自(DC)、(EC)、(ED)三个胞族。S1的10位每个单位自身元素之外的3个元素两两组合,全组合是3,10位每位的可结合单位是3。将图1的线缩成点,10位的结合关系如图3所示。

图3
4、10位结合生成15个新的单位:
S2={[(DC)(BA)],[(EC)(BA)],[(ED)(BA)],[(DB)(CA)],[(EB)(CA)],[(ED)(CA)],[(CB)(DA)],[(EB)(DA)],[(EC)(DA)], [(CB)(EA)],[(DB)(EA)],[(CD)(EA)],[(ED)(CB)],[(EC)(DB)],[(DC)(EB)]}
[(DC)(BA)]仍按习俗的“男左女右”排列,有(DC)(BA)、(BA)(DC)两个分支,考虑“母”(雌、牝)的S0归属和“父”(雄、牡)的S1归属,有(DC)BA、(DC)AB、(BA)DC、(BA)CD四个分支;考虑“母”(雌、牝)、“父”(雄、牡)双方在S0和S1的归属,有DCBA、CDBA,DCAB、DCBA、BADC、ABDC、BACD、ABCD八个分支。15位共120个单位。考虑“父”的S1层归属和“母”的S0层归属,共60个单位。将它们按女系(雌、牝)归入10位和5位:
A2={(DC)BA,(EC)BA,(DE)BA,
(DB)CA,(EB)CA,(ED)CA,
(CB)DA,(EB)DA,(EC)DA,
(CB)EA,(DB)EA,(DC)EA}
B2={(DC)AB,(EC)AB,(DE)AB,
(DA)CB,(EA)CB,(ED)CB,
(CA)DB,(EA)DB,(EC)DB,
(CA)EB,(DA)EB,(DC)EB}
C2={(DB)AC,(EB)AC,(ED)AC,
(DA)BC,(EA)BC,(ED)BC,
(BA)DC,(EA)DC,(EB)DC,
(BA)EC,(DA)EC,(DB)EC}
D2={(CB)AD,(EB)AD,(EC)AD,
(CA)BD,(EA)BD,(EC)BD,
(BA)CD,(EA)CD,(EB)CD,
(BA)ED,(CA)ED,(CB)ED}
E2={(CB)AE,(DB)AE,(DC)AE,
(CA)BE,(DA)BE,(DC)BE,
(BA)CE,(DA)CE,(DB)CE,
(BA)DE,(CA)DE,(CB)DE}
表4
A2={(DC)BA1, (EC)BA2, (DE)BA3,
(DB)CA, (EB)CA, (ED)CA ,
(CB)DA, (EB)DA, (EC)DA ,
(CB)EA, (DB)EA, (DC)EA }
B2={(DC)AB1, (EC)AB2, (DE)AB3,
(DA)CB, (EA)CB, (ED)CB ,
(CA)DB, (EA)DB, (EC)DB ,
(CA)EB, (DA)EB, (DC)EB }
C2={(DB)AC, (EB)AC, (ED)AC ,
(DA)BC, (EA)BC, (ED)BC ,
(BA)DC2,3,(EA)DC1, (EB)DC1,
(BA)EC1,3,(DA)EC2, (DB)EC2}
D2={(CB)AD, (EB)AD, (EC)AD,
(CA)BD, (EA)BD, (EC)BD ,
(BA)CD2,3,(EA)CD1, (EB)CD1,
(BA)ED1,2,(CA)ED3, (CB)ED3}
E2={(CB)AE, (DB)AE, (DC)AE ,
(CA)BE, (DA)BE, (DC)BE ,
(BA)CE1,3,(DA)CE2, (DB)CE2,
(BA)DE1,2,(CA)DE3, (CB)DE3}
表4
A2={(DC)BA1 , (EC)BA2, (DE)BA3,
(DB)CA, (EB)CA, (ED)CA ,
(CB)DA, (EB)DA, (EC)DA ,
(CB)EA, (DB)EA, (DC)EA }
B2={(DC)AB1 , (EC)AB2, (DE)AB3,
(DA)CB, (EA)CB, (ED)CB ,
(CA)DB, (EA)DB, (EC)DB ,
(CA)EB, (DA)EB, (DC)EB }
C2={(DB)AC, (EB)AC, (ED)AC ,
(DA)BC, (EA)BC, (ED)BC ,
(BA)DC2,3**, (EA)DC1*, (EB)DC1*,
(BA)EC1,3**, (DA)EC2*, (DB)EC2*}
D2={(CB)AD, (EB)AD, (EC)AD,
(CA)BD, (EA)BD, (EC)BD ,
(BA)CD2,3**, (EA)CD1*, (EB)CD1*,
(BA)ED1,2**, (CA)ED3*, (CB)ED3*}
E2={(CB)AE, (DB)AE, (DC)AE ,
(CA)BE, (DA)BE, (DC)BE ,
(BA)CE1,3**, (DA)CE2*, (DB)CE2*,
(BA)DE1,2**, (CA)DE3*, (CB)DE3*}
表4
摩尔根在引用麦克伦南的定义4时也作了删节。由两处的删节应可得出结论,删节不是由于版本问题引起的,而是因为摩尔根并没有理解麦克伦南的部落定义。麦氏定义4原文是:
4. Tribal system.- Tribe in divisions. No connubium between members of the same divisions: connubium between some divisions; only oartial connubium between others –e.g., a man of one marry a woman of another, but a woman of the former may not marry a man of the latter. Approach to caste.
[译文]4.部落体系。——部落划分为区。同区的成员不能通婚:某些区之间可以通婚;同其他区成员的通婚仅限于划桨型的,例如,一个区的男人可以同另一区的女人结婚,但前一区的女人可能不能同后一区的男人结婚。类似于等级制度。
麦氏定义4说的单向的通婚,任何熟悉中国少数民族婚姻家族制度的人都会想起景颇族的“姑爷种”和“丈 人种”。景颇族的婚配关系是建立在同姓氏不婚和姨表不婚的原则基础上的单向姑舅表优先婚配制。景颇人认为同姓人是有血缘关系的,对同姓通婚者的惩罚极其严厉。姨表虽不同姓但同祖,血缘关系近,也不能通婚。
单向姑舅表优先婚配制,是指姑家男子必须娶舅家女子为妻,但舅家男子不能娶姑家女子为妻。这样,景颇族的婚配原则中,除同姓不婚和姨表不婚两种限制外,还有第三种特殊限制即只能是单向姑舅表婚配,不能“倒婚”。也就是说,非姨表关系的不同姓氏间可自由选择地接婚姻关系。这种婚姻关系一经缔结,男方姓氏即成为女方姓氏的“姑爷种”,女方姓氏即成为男方姓氏的“丈人种”。双方一经确认为“姑爷种”和“丈人种”后,即建立了单向的婚配关系,世代相袭。“姑爷种”姓氏的男子就有权娶“丈人种”姓氏的任何一家的女子,但不能将“姑爷种”姓氏的女子嫁给属于“丈人种”姓氏的男子。这种婚配关系,要求有三个以上的姓氏(婚姻集团)组成才可周转。事实上,在景颇族社会中,五个支系之间均可通婚,一个姓氏同时和几个姓氏建立了“姑爷种”和“丈人种”的关系。他们的通婚范围是很广泛的。景颇族青年男女找对象时,首先要弄清对方的姓氏,不合者,不能谈恋爱。(戴庆夏、徐悉艰:《景颇族文化史》,见《中国少数民族文化史》,第1061、1062页,辽宁人民出版社,1996年。)
“姑爷种”和“丈人种”的通婚规则为麦氏定义4做了极好的注解。麦克伦南显然要探明这种奇妙的规则的整体结构。摩尔根却沉迷于他的原始的“血婚制家庭”和“伙婚制家庭”,对此竟毫无知觉。
表4用单线标出S1(AB)姓氏(胞族)的所有按女系(雌、牝)下传的单位,即属于A2的(DC)BA、(EC)BA、(ED)BA,和属于B2的(DC)AB、(EC)AB、(ED)AB,可以把他们合视为S215位中[(DC)(BA)]、[(EC)(BA)]、[(ED)(BA)]的一半,即(DC)(BA)、(EC)(BA)、(ED)(BA)三个按女系属于(BA)姓氏的半族,用不同的数码标出它们各自在A2和B2的两个分支(半半族)的不同单位。用相同的数码标出各单位在其他区(5位)符合“姑舅表亲”形式的的可结合对象。列出A2DCBA氏族在BA作为“姑爷种”时,其男子所有符合规则的对象和结果:
姑家DCBA之子与C2舅家BAEC之女结合,子女氏族为DCBABAEC;
姑家ABCD之子与D2舅家DEAB之女结合,子女氏族为DCBABAED;
姑家ABCD之子与E2舅家ECAB之女结合,子女氏族为DCBABACE;
姑家ABCD之子与E2舅家EDAB之女结合,子女氏族为DCBABADE。
“八字”氏族的表示法可嵌入先天八卦的模型,以DCBABACE为例

图4
图5表示了所有可能的“姑舅表亲”的结合关系,即不考虑单向的交错从表婚时的所有可能:

图5
表4中单线标出属于S1(BA)姓氏的单位称甲类,**和*标出根据5位和10位禁止原则除去不能结合的单位后余下的能与甲类结合的单位。**标出的称乙类,乙类的父方血缘(雄)与甲类的母方血缘(雌)相同。*标出的称丙类,丙类的母方血缘(雌)与甲类的父方血缘(雄)相同。
图6表示BA姓氏的“姑舅表亲”通婚关系,也就是BA姓氏的甲类和乙类的结合

图6
甲类合丙类的结合也符合“姑舅表亲”,但姑家和舅家不是BA姓氏。对BA姓氏成员来说,甲乙类结合是更正宗的,后代将在自己姓氏内循环。这种内部循环使成员有一种自傲感,也就是麦克伦南说的“类似于等级制度”。另外还存在非“姑舅表亲”的结合,如(EC)BA与(EA)DC的结合,将真正成为势单力孤的群组。
能否用通过五行推演的分类体系分析解释“姑爷种”、“丈人种”等的交错从表婚,有待于实地调查结果的验证。但从这一系统对人类学上公认的难题——澳洲土著婚级制度的解释看(详后),验证是可期待的。http://ydwq3613.bokee.com/6290329.html
5、为说明麦氏定义5的“种姓等级制”,可将BA姓氏的(DC)BA及其后代在血族通婚范围内的通婚关系全部列出。先假定舅家之子如BA(DC)+可与姑家之女如(EC)BA-结合。表中×代表通婚关系:


表5
表5
n代 n+1代 n+2代
(DC)BA+×BA(EC)- (DC)BABA(EC)或BA(EC)
BA(EC)+×(DC)BA- (EC)BA
BA(EC)+×(ED)BA- (EC)BA
BA(EC)-×(DC)BA+ BA(EC)
BA(EC)-×(ED)BA+ BA(EC)
(DC)BA+×BA(ED)- (DC)BABA(ED)或BA(ED)
BA(ED)+×(DC)BA- (ED)BA
BA(ED)+×(EC)BA- (ED)BA
BA(ED)- ×(DC)BA+ BA(ED)
BA(ED)- ×(EC)BA+ BA(ED)
(DC)BA- ×BA(EC)+ BA(EC)(DC)BA或(EC)BA
(EC)BA+×BA(DC)- BA(DC)
(EC)BA+×BA(ED)- BA(ED)
(EC)BA- ×BA(DC)+ (DC)BA
(EC)BA- ×BA(ED)+ (ED)BA
(DC)BA- ×BA(ED)+ BA(ED)(DC)BA或(ED)BA
(ED)BA+×BA(DC)- BA(DC)
(ED)BA+×BA(EC)- BA(EC)
(ED)BA- ×BA(DC)+ (DC)BA
(ED)BA- ×BA(EC)+ (EC)BA
表5
表中n代(DC)BA氏族成员的子女(n+1代)仍然按甲、乙类通婚的范围进行通婚。其通婚对象从来源看可分两类。其中n+1代属于S2[BA(DC)] DC即(DC)BA和BA(DC)者不可能由n代 (DC)BA与乙类结合产生,即麦氏定义5“同血统者不能通婚”,因此,n+1代(DC)BA只能由n代(DC)BA与丙类[(EC)(BA)]和 [(ED)(BA)](即表4中丙类1号四个单位) 结合产生。n+1代通婚对象的另一类[(EC)BA]和[(ED)BA]从来源看又可分为两个亚类:
1)第一个亚类从表5可以看出是n代(DC)BA的n+1代男性后代同n代(DC)BA的n+1代女性后代结合,同一代同氏族如(DC)BA者为“兄弟姊妹”,这一亚类的通婚是同“祖”(“女祖”如BA)的“姑舅表婚”。 n+1代4个氏族BA(EC)、BA(ED)、(EC)BA、(ED)BA,“堂兄弟姊妹”BA(EC)、BA(ED)不能通婚;“姨表兄弟姊妹” (EC)BA、(ED)BA同姓BA,不能通婚;n+1代每个氏族在同祖BA同n代氏族(DC)BA后代中各自的通婚对象是唯一的。表5中用单线标出这类通婚关系。
2)n代(DC)BA的n+1代后代通婚对象[(EC)BA]、[(ED)BA]另一亚类的来源是(DC)BA在家类的BA姓氏的旁系(EC)BA和(ED)BA同乙类及丙类通婚,也可生成[(EC)BA]和[(ED)BA]。即
n代 n+1代
甲乙类(ED)BA+×(BA)DC- BA(DC)
(ED)BA+×(BA)CD-
(ED)BA+×(BA)EC- (EC)BA
(ED)BA+×(BA)CE-
(ED)BA- ×(BA)DC+ (DC)BA
(ED)BA- ×(BA)CD+
(ED)BA- ×(BA)EC+ (EC)BA
(ED)BA- ×(BA)CE+
(EC)BA+×(BA)DC- BA(DC)
(EC)BA+×(BA)CD-
(EC)BA+×(BA)ED- (ED)BA
(EC)BA+×(BA)DE-
(EC)BA- ×(BA)DC+ (DC)BA
(EC)BA- ×(BA)DC+
(EC)BA- ×(BA)ED+ (ED)BA
(EC)BA- ×(BA)DE+
甲丙类(EC)BA+×(EA)DC- BA(DC)
(EC)BA+×(EA)CD-
(EC)BA+×(EB)DC- BA(DC)
(EC)BA+×(EB)CD-
(EC)BA- ×(EA)DC+ (DC)BA
(EC)BA- ×(EA)DC+
(EC)BA- ×(EB)DC+ (DC)BA
(EC)BA- ×(EB)DC+
(ED)BA+×(EA)DC- BA(DC)
(ED)BA+×(EA)CD-
(ED)BA+×(EB)DC- BA(DC)
(ED)BA+×(EB)CD-
(ED)BA- ×(EA)DC+ (DC)BA
(ED)BA- ×(EA)DC+
(ED)BA- ×(EB)DC+ (DC)BA
(ED)BA- ×(EB)DC+
表6
各类通婚状况按后代与(DC)BA氏族成员血缘关系的亲疏分成等级:
婚姻始终在第n代(DC)BA氏族的后代之间实行同祖同姓即BA姓氏内的“姑舅表亲”通婚,其形式为(DC)BA氏族甲乙类通婚的子女同 (DC)BA氏族甲乙类通婚的子女结合,后代之间继续进行“姑舅表亲”结合。需要特别注意的是,(DC)BA氏族成员的所有这类后代都不属于(DC)BA氏族而属于(DC)BA“同姓”的两个氏族(EC)BA和(ED)BA,以及它们在乙类的胞族的另一半BA(EC)和BA(ED),也可以说,BA姓氏(DC)BA氏族成员的后代属于其同血统(姓氏)的旁系氏族所属的[(EC)BA]和[(ED)BA]胞族。氏族成员的后代与父母的氏族不同。《后汉书·西羌传》说羌人“其俗氏族无定,或以父名母姓为种号”,指的当即这种情况。将同一母姓——(DC)BA后代的4个氏族按性别分为8个婚级,男性归入a、b、c、d4个婚级,女性归入e、f、g、h4个婚级,其内部的“姑舅表亲”通婚关系如下:

表7
(DC)BA氏族成员的子女的个人氏族都不是(DC)BA,但其通过姑舅表亲生成的后代个人氏族分属BA姓氏的两个旁系(EC)BA、(ED)BA及其在乙类的同胞族氏族BA(EC)、BA(ED),可称之为偶族,两个偶族如(EC)BA和BA(EC)站在BA姓氏的立场看,一个的母方姓氏BA 是另一个的父方姓氏,两者且同属S2四字胞族[(DC)(BA)]之[(DC)BA]亚胞族。同理,
(EC)BA、(ED)BA的甲乙类姑舅表亲生成的后代分属各自两个BA姓氏旁系及在其他姓氏的偶族。BA姓氏的三个氏族的通婚关系如下表:


表8
表中左边为BA三个氏族男性成员的通婚,右边为女性成员的。如果不考虑性别,也就是把同氏族男女的通婚关系合并,就是图6所示的通婚关系。若再与B部落AB姓氏的同结构婚姻群合并,就是下图中[(DC)(BA)]、[(EC)(BA)]、[(ED)(BA)]三个胞族间的通婚。

表7中,子女依属于母亲的姓氏,也就是麦克伦南反复说的只按女系计算血缘关系。如摩尔根所说,子女在同氏族内(即(DC)BA、麦克伦南称“部落”)转入与父母不同的婚级。(《古代社会》第53页)。但也不尽然,有1/4的成员,也就是第n代(DC)BA氏族男性成员的女性后代保持婚级不变,即表中e、f两个婚级。同氏族后代的姑舅表亲被认为血统最纯正,是最高种姓等级的通婚。
表6中(DC)BA氏族成员的甲丙类通婚,其子女不在表4范围之内,因而不能进入(DC)BA氏族(部落)的姑舅表亲循环。把这类子女的通婚视为第二等级,麦氏定义5的“种姓等级制”可以大体上分为甲乙类和甲丙类两类通婚状况。
表6中,n代(DC)BA氏族成员甲丙类通婚生成的n+1代[(DC)BA]与n代(DC)BA的男性成员与乙类通婚生成的子女进行通婚,其n+2代子女可获得属于(DC)BA氏族(部落)的个人氏族(婚级)。也就是说,如果(DC)BA是种姓高贵的姓氏,如夏、商的王族,该族男性成员的甲丙类通婚意味着子女种姓等级的降低,但甲丙类子女与(DC)BA氏族男性成员甲乙类婚生子女进行通婚,甲丙类子女(n+1代)的子女(n+2代)种姓又可以上升。
n代甲丙类婚生子女(n+1代)与n代(DC)BA女性成员与乙类婚生子女(n+1代)通婚生成的子女(n+2代)不能获得(DC)BA氏族(部落)的个人氏族(婚级)。因此,对(DC)BA氏族来说,甲乙类婚生的子女与甲乙类婚生的子女通婚,即表7所示,是血统最纯净的通婚,种姓等级最高。(DC)BA氏族男性成员的甲丙类通婚可以作为第二等级。(DC)BA女性成员的甲丙类通婚则为第三等级,其子女无法回到(DC)BA氏族(部落)之中。
4)(DC)BA在甲类的两个旁系(EC)BA、(ED)BA同乙类和丙类的通婚,生成的子女也可获得(DC)BA部落的个人氏族。如果(DC)BA与(EC)BA、(ED)BA有等级差别,应该存在更大范围的更细密的种姓等级关系。
6、表4父方血缘同为BA的乙类中BA(DC)氏族所有按同祖血缘通婚(即甲乙类婚生子女与甲乙类婚生子女的通婚)组成的部落内的通婚和世代传递关系如下:
表9
BA(DC)氏族(部落)的个人氏族(婚级)之间的区别必须用八字才能表示,也就是说氏族的父方血缘(雄)和母方血缘(雌)需用四字表示。取父的二字姓氏(父之雌,我之雄)与母的二字姓氏归入S2层亲位,所有个人氏族都属于[(BA)(DC)]亲位(胞族)的[BA(DC)]亚胞族(偶族),也就是麦氏定义6所说“每一部落中的一切成员均同血统,或号称如此。婚姻在部落成员之间进行;部落之外禁止通婚,通婚者将受惩罚。”最常见的惩罚当如苗族“舅爷钱”之类的赎买婚。族内婚的目的在保证财产、职位在族内继承。由前面知道甲丙类婚生的子女与甲乙类婚生的子女通婚,可使甲丙类家子女的种姓提高,这就要求甲丙类家以财富为代价。由于BA(DC)与父方血缘(雄)同为BA的两个旁支BA(EC )、BA(ED)按女系分属不同的部落(S0),所以麦氏定义6说“部落之间是分离的”。
摩尔根记叙了卡米拉罗伊人婚级制度的通婚和世代传递关系,这里各婚级给以序号:
男性 女性 男性 女性
伊排 a 与卡波塔 h 结婚,子女为慕里 c 与马 塔 g 。
孔博 b 与玛 塔 g 结婚,子女为库比 d 与卡波塔 h 。
慕里 c 与布 塔 f 结婚,子女为伊排 a 与伊帕塔 e 。
库比 d 与伊帕塔 e 结婚,子女为孔博 b 与布 塔 f 。
列表图示如下:
表10
表7、表9中,a、h 结合生成 c、g ;b、g 结合生 d、h 。与表10同。但表7、表9c、f 结合生成 b、f,d、e 结合生成 a、e ;表10 c、f 结合生成 a、e,d、e 结合生成 b、f。如果把表10c、f 和d、e 结合的生成关系对调,则与表7、表9完全相合。其原因可以推详。
表7、表9[(DC)BA]偶族两个氏族(DC)BA、BA(DC)子女的世系传递有三种模式:氏族男性成员的女系后代世代传递为不动模式,始终是 e 和 f ;女性成员的女系后代世代传递为交换或称振荡模式,n+1代为 g 和 h ,n+2代分别为 h 和 g,n+3代又为 g 和 h ……;所有男女成员的男性后代世代传递为循环模式,皆按a-c-b-d-a 顺序每五代完成一个循环。为提示部落系谱的架构同河图洛书及夏、商、周三《易》可能的渊源,可分别称之为不易、简易、变易模式。亦可称为平移模式、翻转模式、旋转模式。
由于摩尔根认为婚级制度是氏族产生之前的一种婚姻制度,所以过多地注意女性成员的女系后代世代传递的方式,并在其他更复杂的关系明确之前,作了推广。他在推算世系时说:“在女系方面,卡波塔(h)是玛塔(g)的母亲,而玛塔(g)又是下一代卡波塔(h)的母亲;同样,伊帕塔(e)是布塔(f)的母亲,而布塔(f)又是伊帕塔(e)的母亲。男性各婚级的关系与此相同……”摩尔根说的男性各婚级的关系是推测的,他说的伊帕塔(e)和布塔(h)的关系也不正确。麦氏定义7“部落体系不明”,首先是指对世代传递关系的不明,麦克伦南采取了慎重的态度。而更复杂难解的是婚级与氏族的关系。
7、摩尔根引的麦克伦南定义7也作了删节。至此,我们看到,摩尔根引文中用异体字(商务印书馆中译本用着重号)的地方,都是作了删节的地方。定义7的删节最多。我们来看看原文:
7. Tribal system indistinct.- Members of primitive (stock) groups interfused. (1.) Marriage forbidden except between persons whose family name points them out as being of the same stock. (2.) Marriage forbidden except between the members of particular families. Persons having connubium marked as a caste, old tribal divisions being lost sight of.
[译文]7.部落体系不明。本初(同根)群组的成员是交错的。(1)婚姻是禁止的,姓氏指明当事者是同根的除外。(2)婚姻是禁止的,特殊家族的成员除外。各人有标明等级的婚姻标志,先前的部落划分被漠视。
在定义7中,麦克伦南对混沌难明的研究对象还是总结出一些特征。定义7中再次看到定义3提到过的本初同血统的成员。定义3以女系血统为A的“家族”为例,可以看作成员的父系血统混有B、C、D、E。
三、关于360 个氏族
把图6十五个单位结合可能生成的单位全部列出:
[(DC)(BA)]×[(EC)(BA)]生成{[(EC)(BA)][(DC)(BA)]},含有16各单位:
[(EC)(BA)][(DC)(BA)]、[(DC)(BA)][(EC)(BA)]两个单位;或
[(EC)(BA)](DC)(BA)、[(EC)(BA)](BA)(DC)、[(DC)(BA)](EC)(BA)、[(DC)(BA)](BA)(EC)四个单位;或
(EC)(BA)(DC)(BA)***、(BA)(EC)(DC)(BA)、(EC)(BA)(BA)(DC)、(BA)(EC)(BA)(DC)**、
(DC)(BA)(EC)(BA)***、(BA)(DC)(EC)(BA)、(DC)(BA)(BA)(EC)、(BA)(DC)(BA)(EC)**八个单位。
***标出的两个单位由同属(BA)姓氏的两方结合而成,是禁止的。**标出的两个单位“父”“母”双方“姓氏”中有共同元素C,不合十位外婚的规定,也是禁止的。余下的(BA)(EC)(DC)(BA)和(BA)(DC)(EC)(BA)由(BA)“姓氏”的“姑家”之女和“舅家”之子结合生成;(EC)(BA)(BA)(DC)和(DC)(BA)(BA)(EC)由(BA)“姓氏”的“舅家”之女和“姑家”之子结合生成。
符合(BA)姓氏“姑舅表亲”的单位有:
(BA)(EC)(DC)(BA)含有:
BA(EC)(DC)BA、AB(EC)(DC)AB两个单位,或BA(EC)DCBA、BA(EC)CDBA、AB(EC)DCAB、AB(EC)CDBA四个单位,或BAECDCBA、BACEDCBA、BAECCDBA、BACECDBA、ABECDCAB、ABCEDCAB、ABECCDAB、ABCECDAB八个单位。
(BA)(DC)(EC)(BA)含有:
BA(DC)(EC)BA、AB(DC)(EC)AB两个单位,或BA(DC)ECBA、BA(DC)CEBA、AB(DC)ECAB、AB(DC)CEBA四个单位,或BADCECBA、BACDECBA、BADCCEBA、BACDCEBA、ABDCECAB、ABCDECAB、ABDCCEAB、ABCDCEAB八个单位。
(EC)(BA)(BA)(DC)含有:
(EC)BABA(DC)、(EC)ABAB(DC)两个单位,或(EC)BABADC、(EC)BABACD、(EC)ABABDC、(EC)BABACD四个单位,或ECBABADC、CEBABADC、ECBABACD、CEBABACD、ECABABDC、CEABABDC、ECABABCD、CEABABCD八个单位。
(DC)(BA)(BA)(EC)含有:
(DC)BABA(EC)、(DC)ABAB(EC)两个单位,或(DC)BABAEC、(DC)BABACE、(DC)ABABEC、(DC)BABACE四个单位,或DCBABAEC、CDBABAEC、DCBABACE、CDBABACE、DCABABEC、CDABABEC、DCABABCE、CDABABCE八个单位。
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ydwq3613 敬启
2007.5.11 22:59
张庆麟:我国南北朝时有“鸭嘴兽”吗?
(作者置顶)
96nn君(纪楠楠先生)在CIV.文明.联盟俱乐部 塞爱维学院 论坛看到齐东野人转载的我的《第一个到达澳洲的中国人——慧深》一文后上传的图片。乃转自《化石》98年第2期。

我国南北朝时期有“鸭嘴兽”吗
张庆麟 2007年11月13日 09:49
鸭嘴兽,是一种被人们认为只分布在澳大利亚南部及塔斯马尼亚岛的现存最原始的哺乳动物。按照现有记载,它是1797年,由一位欧洲殖民者最先发现的。在这之前除澳洲土著居民外,人们似乎都不知道世上有这种奇异动物。
然而,最近笔者却惊奇地从一本上海远东出版社出版的《千古宝玉--杜心藏玉集》中,发现被杜心先生秘藏的古玉器中,竟有一件造型极似鸭嘴兽。据杜先生说,这古玉器制作年代为南北朝时期,即公元五、六世纪。显然,若这玉器的时代没错,岂不是说,早在中世纪前,鸭嘴兽已为我国人所知。而且应该不是一种十分珍稀的动物,否则玉石艺匠们不会以它为“模特”,制作这传世珍品。
这一来,又给我们提出一个疑问:我国古代的鸭嘴兽来自何方呢?是来自澳大利亚吗?如果是,就表明早在1770年英人库克发现澳洲大陆之前,我国已和澳洲有过频繁交往。反之,若不是,那只能解释为它是我国土生土长的一种动物。这又势必要求人们重新审定关于鸭嘴兽地域分布的观念。
摘自《化石》
2008-9-3 12:12 转自中国科学技术学会网站——中国公众科技
http://dino.cpst.net.cn/tszl/2007_11/194922382.html
张庆麟---对现行“钻石分级标准”几点浅见
由国家珠宝玉石质量监督检验中心负责起草和颁发的“钻石分级标准”( 简称“国标”),自1997年5月开始实施以来,迄今已一年有余,通过一系列实践,使我们感觉到该“国标”还存在一些不是和缺陷。为便于今后修改时参考,笔者不才,愿在此作一探讨,权作抛砖引玉之举,有不当之处,还请读者批评指正。
首先我们觉得,“国标”中的某些术语因由国外文献引入,其译法似欠妥当,有待重新斟酌的,如:1.“polished diamond”一词,从英文原意来说,虽可直译为“抛光钻石”。但实际上仅仅用“抛光”这个词来描述这颗经切割、打磨、抛光而成的成型钻石,似未能充分言尽其意。据了解,早在1929年,我国老一辈的珠宝业者曾制定有上海“钻石公约”,当时就曾把polished diamond称为“成品钻石”。笔者以为,“成品钻石”的称呼,比“抛光钻石”在含意的表达上,更贴切,更准确。据此建议把“抛光钻石”改称为“成品钻石”。
2. 关于瑕疵的提法,“国标”中使用“内部瑕疵”和“外部瑕疵”的术语。 我们觉得这比有些书刊使用“内部特征”和“外部特征”的术语,已更能清楚地表达该术语的含义。然而“外部”一词似仍欠妥当。大家知道,所谓“外部”是指事物周边的不属于事物本身的部分。这显然不是我们在判定钻石净度时要考虑的内容。事实上我们在判定钻石净度时要考虑的是,表现在钻石表面上的那些瑕疵,因此应称为“外表瑕疵”。
3. 关于“切工”一词,笔者以为也有不妥。众所周知,钻石的加工, 除了在第一道工序中需要对其进行劈分或切割之外,主要在于仔细的琢磨。一颗成品钻石的琢型的各部比例是否符合标准,对称是否完美,关键均在于琢磨是否得当。而“切工”一词,则易于被不了解其加工过程的普通消费者误以为,钻石的琢磨是依靠切割获得的。所以笔者建议,今后不要再用“切工”一词,而改用“做工”。因为“做”字比“切”字能更好地反映整个加工工序。
4. “finish”一词,在国际中被译为“修饰度”。笔者以为也可商榷。 事实上“finish”要反映的并非全是修饰方面的问题。如冠部与亭部刻面尖点不对齐(即亭部冠错位),是一些做工较差的钻石常见的弊病,而这一缺点就不是由于修饰或依靠修饰可以解决的。因此,我们认为把“finish”译为“完美度”似更贴切一些。
以上是笔者对上述四个术语的一些看法。虽然这不是什么原则问题,但所谓“名不正,言不顺”,一个不恰当的术语易给人带来不正确的误解。反之则有助于人们对术语的含义的正确理解。
二、
我们高兴地看到,“国标”在制定时的充分考虑到了我国目前的国情,拟定了两套分别适应于未镶嵌和已镶嵌的成品钻石的分级原则。这就为大量的已镶钻石的分级提供了依据。然而,也正由于存在着这样两套不尽相同的分级标准,它们之间的衔接就应该十分谨慎,避免可能出现的矛盾。遗憾的是,“国标”却在这方面出现一定的疏漏。
1. 是色级的中文名称,在未镶钻石中把F色和G色称为优白, 而在已镶钻石中则把D、E、F、G四个色级均称为优白;同样,在未镶钻石中,仅把H色称为白色,而在已镶钻石中的色则可涵盖H、I、J三个色级;还有“浅黄白”, 在未镶钻石中它代表的是K、L的色级,而在已镶钻石中则代表了K、L、M、N四个色级。显然,这种命名上的混乱和不统一,很容易误导消费者,也可能被一些人所利用。
2. 关于已镶钻石的净度等级。众所周知,在评定已镶钻石的净度时, 难的是有些内部瑕疵或外表瑕疵,由于有可能被镶嵌用的金属所遮挡,而影响的观测,致使评定的净度等级偏高。因此为了尽可能避免出现这样的差错,在实际操作时人们一般采取从严从紧的原则。所以对已镶钻石的净度是不宜评为LC 级的, 甚至评为VVS级都是蕴含着很大风险的。
3. “国标”对已镶钻石还引入了“品质等级”的概念, 其用意本是想给人们在评定钻石时,能有一个总体的评价。用意虽然良好,可惜却由于思考欠周,使这张关于钻石品质等级划分的依据(“国标”表B1),成为“国标”的最大败笔。
其一,由于“国标”在评定钻石品质等级时,只考虑了净度和色级两个因素,完全忽略了做工对钻石品质的影响。这就很容易导致错误的结论。大家知道,钻石之所以具有璀灿夺目的光彩,这固然与其内在的光学性质有关,但另一方面也与做工的优劣休戚相关。好的做工可以使钻石更加“出火”明亮;差的做工则会使钻石暗淡失色,所以做工的好坏常常是人们评定成品钻石品级的一个重要的不可忽略的因素。试问,一颗由于做工很差,以致出现有“黑心”或“鱼眼”现象的钻石,即使它的净度是LC级,色级为D,又怎能把它评为品质极好的钻石?
其次,“国标”为了简化钻石的品质等级,将其总的分为极好、很好、好、较好,一般五个等级。然而当我们仔细审视这些等级时,却会发现一些被划入同一等级的钻石,其实在品质上却有着极大的差异,反映在他们的价格上则相差悬殊。例如,一颗颜色为G,净度VS级的钻石, 按“国标”可将其品质等级划入“很好”一级;同样,另一颗颜色为M,净度为LC级的钻石,按“国标”也可划归“很好”一级。但查阅一下美国Rapaport的钻石报价表,我们就不难发现,前一种钻石,若其重量为1克拉,则其单位克拉的报价是6500~6100美元);而后一种钻石在重量相同时,其单位克拉报价,仅为3500美元。如果它们同是0.5克拉大小, 则前者的报价是4100~3600美元,而后者则是2000美元。总之,不论它们的大小如何,在价格上都几乎相差一倍。这使人们不禁要问,既然它们在品质上都属于“很好”的一级,却为什么会有这样大的价格差异。
另外,关于钻石的色级,在未镶钻石中曾分出
三
对于“国标”的第三方面意见是,有些规定尚不够详细和准确,这使人们在执行时难免会出现不易掌握。如净度等级的划分,怎样算是“可见”,“易见”和“很易见”?这种含义模糊的词汇,就使人很难把握。而且在有些情况下,仅仅以瑕疵是否易见这一条件来评定净质等级也可能会出现失误。譬如,某颗钻石有一条不很明显的裂纹贯穿整颗钻石。按照“国标”中的规定,由于裂纹较长,肉眼可见,但又不很明显,应定为P1级,但这条裂纹是贯穿性的,有可能影响钻石的牢固性,按照G/A的划分标准则应定为I3级。笔者以为, 从消费者的利益来讲, 也应将其评为P3级,但从“国标”来说却又缺乏依据,不免难于适从。
还有,关于修饰度(应改称“完美度”)的评定,“国标”中列出了7个影响其级别的因素(其实,还应该有第8个因素──底尖是否居中),但由于均缺乏量的概念, 也就使人很难把握。譬如钻石圆度问题,究竟相差多少才算“不够”?因为客观上如果用精密的微尺对其进行测量,恐怕很难找到一颗圆度丝毫不差的钻石。其实这种误差有的应该是允许的,问题是误差的允许范围究竟多大才合适,这本是“国标”给予明确的。遗憾是的,“国标”在这里却采用了一个模糊的概念,使人无法把握。再譬如,“冠部与亭部刻面尖点不对齐”也存在一个量的问题。倘若仅有一处不对齐是否就应给予降级处理,还是要有几处才予降级?至于其他几个因素,也都存在类似的问题,限于篇幅,不再赘述。
再者,我们觉得在做工的比率分级与完美度分级上,“国标”存在宽、严要求不同的现象。按理比率对钻石的出火好坏,比完美度影响更大,理应要求严一些。但“国标”中的规定却正好相反,对比率的要求宽,而对完美度的要求偏严。如台宽比,在53-66%之间的较大范围内,均可评为“很好”,因此实测的结果,绝大多数的成品钻石其做工比率均可评为“很好”或“好”这两个等级,属于“一般”等级的是极个别的。但从完美度的角度来评定时,由于大多数成品钻石都存在轻重程度不等的亭冠错位,刻面大小略有差异,圆度有极微的0.01mm辈钜斓任侍猓?而只能评为“一般”(其实,只要给出一个不大的允许误差, 就会使许多成品钻石不致沦入“一般”的级别)。
四
我们还要指出的是,“国标”在一开头曾把其适用的范围限定于天然的、无色至浅黄(褐、灰)色系列的标准圆钻型钻石,这未免过于狭窄。其实,众所周知,今天合成钻石已经面世,自然也存在需要4C评价的问题。还有,对于彩色钻石, 虽然不适宜使用“国标”中的色级标准来对其颜色进行评价, 但其他3C则显然是适用的。同样,异型钻,虽然其做工的各部比率有其特殊性,但其色级、净度、甚至做工的完美度方面仍完全适用现有的标准。就是那些经辐照处理、充填处理的成品钻石,我们认为在鉴定时,只要率先指出其采用的处理方法后,仍然可以按照“国标”中的有关标准对其进行4C评价(当然, 这种评价实质上部分是对处理效果的一种评价)。
我们认为指出“国标”中的弊漏,并加以完善是必要的,有益的。它使人们在面对形形式式的成品钻石时,可以用统一的标准来评定其品质的优劣。
以上是笔者对“国标”的四点商榷意见,也许并不正确,敬请读者批评指正。
2008.11.13 10:52
玉投资收藏手册(精)
ISBN:978-7-5323-9307-7
出版社:上海科学技术出版社
出版日期:2008年09月 版次:第1版
作者:张庆麟工作室
《汤用彤全集》第七卷:关于慧深
近来报刊常有关于沙门慧深发现美洲的文章,我读了几篇, 不觉技痒(不说手痒,因为尚须烦人代笔),姑提两点意见,不 谈发现美洲和扶桑的问题,谈的只是有关资料文字上的解释,以 就正于读者。
第一点,慧皎《高僧传》卷八(大正本)《慧基传》内的慧深,是慧基的弟子。但是更重要的他也是第四任的江东僧正。现将《慧基传》原文摘抄一段(括号内的注释是我加的):
(南齐)司徒文宣王(萧子良)钦风慕德……乃敕为僧主,掌任十城,盖东土僧正之始也(第一任僧正)。……基弟子德行、慧旭、道恢(此三僧名均与本书目录不合)并学业优深,次第敷讲……后有沙门慧谅接掌僧任(第二任僧正)。谅亡,次沙门慧永(第三任僧正,按《僧传》目录缺 慧谅,慧永作慧求)。……永后,次沙门慧深(第四任僧正),亦基之弟子。……深后,次沙门昙与(第五任僧正, 与亦作兴)。
此处节抄的一段文字,叙述了两件事情:一件是慧基的弟子,先说了三人,他们继慧基之后先后讲经;另一件是述江东僧正的次 序。慧深是第四任僧正,这是主要的。至于说他是慧基的弟子,不过是附带提一下,因此不与三僧并列,而且用"亦"字也。
我们还未研究南朝僧正制度的全部材料,仅据上文说一下。首先僧正所管辖有一定的地区。江东僧正,掌任十城,地域比较大。《高僧传》卷十三,齐上定林寺法献与长千寺玄畅"同为僧主,分任南北两岸"是京城有两个僧正,分掌秦淮河南北寺庙,管地较小,但寺庙当不少也。其次,僧正当有一定的权力{据《僧传》八,《慧球传》"训勖"是僧正职务),须由有资望的僧人充任。例如,慧基是"遍历三吴,讲宣经教",为当时很多名人王公所敬礼。慧深想必也有一定的声望,并在江东有较长期的活动,才能任为僧正。又其次是僧正的任期问题。据上面引文,应是慧基死后由慧谅接掌,又说"谅亡,次沙门慧永",也是僧正死后,换人接充。由此可知,慧深之任职(上限)亦在慧永死后,其时慧基逝世(4%)必巳多年矣。又《高僧传》卷八《昙 斐传》说,斐出家受业于慧基,居法华台寺,天监十七年(518) 卒。并说,"初斐有誉江东,被敕为十城僧主,符旨适行,未拜便化"云云。据慧皎自序《高僧传》止于天监十八年(519),第五任江东僧正昙与的任命,应在天监十八年以前或即昙斐死年 (518),慧深之任僧正(下限)自更在昙斐、昙与之前。在目前讨论中,有将《梁书·东夷传》的慧深和《高僧传·慧基传》的慧深,以及《魏书·释老志》里的慧深,说成是一个人。据上述,《高僧传》的慧深是在江东,并于公元496年——公元519年之 间的某些年曾任江东僧正(姑假定为公元510年——公元518年);而《梁书》的慧深是在齐永元元年(499)在荆州;《释老志》的慧深是北魏的沙门统,于永平二年(509)上书立僧尼制。这三个慧深的活动,可以说差不多是同时,而他们所处的地区距离很远,中国人同时同名,在历史上是常见的,僧人更是如此。如果没有明确的根据,很难说同名同时就是一个人。即在《高僧 传》一书中,亦不乏类似问题,恐烦不述。最后是僧正的驻在地问题。查《高僧传'慧基传》题为"齐山阴法华山释慧基",《名僧传目录》则为"齐山阴城傍寺惠基"(唐李邕《秦望山法华寺碑》中亦言及高僧慧基,是此寺至唐时犹存)。慧基作僧正时本住会稽,其弟子亦多住会稽。如僧行、僧悝(见《名僧传钞》悝即恢字)及以后被任为僧正而没有到任的昙斐,都住在法华寺。据此,似可推定江东僧正的驻地为会稽山阴法华寺。必须指出,作《高僧传》的慧皎,是会稽嘉祥寺的沙门,他所记载的各任江东僧正,次序井然。并且讲到昙斐任僧正的故事。可能他所根据的资料是当地口头传说及寺庙所存案卷。按日本佛教书内有《东大寺别当次第》及《僧纲补任》一类的书,就是编辑各地僧官 (别当、僧正、僧都等)先后任职僧名的记录。可见中国和日本 的寺庙中都保存有这种原始资料也。
第二点,另一个主要资料是《梁书,东夷传》扶桑国的记载。我们也只就文字上略加讨论:
(一)这个记载的结构,罗荣渠的文章中(《北京大学学报》人文科学1962年第4期)也提到此,但未详言。按《梁书·列传》卷四十八是《诸夷传》,中分:海南、东夷、西北诸夷三部,每部前均有小序。东夷部分的小序先说朝鲜方面各国与中国的交通,后曰:
扶桑国在昔未闻也,普通中有道人称自彼而至,其言元本尤悉,故并录焉。
小序后即分述高句骊、百济、新罗、倭、文身、大汉等国,最后是扶桑国。其记载开始曰:
扶桑国者,齐永元元年其国有沙门慧深来至荆州。说云,扶桑在大汉囯东二万余里。……
以下约有四百一十余字述扶桑国情形,最后慧深又说了扶桑东女国的情形。我们试将小序所说的和扶桑的记载比较一下,觉得前后矛盾。据小序说《扶桑传》是录自普通中(520〜526)来中国 的道人所言。而《扶桑传》的本文则是慧深在永元元年(499)来荆州时说的。此点颇不可解。
(二) 慧深的国籍问题也是难解的。据《东夷传》"其国"一语见于原文三次:一是"其国有沙门慧深",二是"其国法有南北狱",三是"比丘五人至其国"。这显然都是指扶桑。而原文讲到中国畜牛、婚礼以及年号如宋大明二年、天监六年等等,全文颇有"海客谈瀛"的口气。从这些文字上看,使我们推测说话的慧深可能是中国人。如是扶桑人也必已来华很久,深通中国情形。但均无确据,疑莫能明也。
(三) 《东夷传》所载罽宾有比丘五人到扶桑流通佛法经像,我认为是一个神话。历史上有名的故事传说,流行既久,往往公式化,常被后人所因袭。其例甚多,不必列举。五比丘的传说,始于释迦传来记,谓佛成道后,侨陈如等五比丘最初传法。后来佛教流行各国,传法的故事疑常沿用五比丘的传说。日本僧人丰安所撰的《戒律传来记》先言佛法传西域时有五人诵律藏的事。次讲佛法传流汉地时,除了说汉明帝等外,特言北天竺有五沙门:支法领、支谦、竺法护、竺道生、支楼谶等五人来到此土与大僧受戒云云。将东汉、三囯、晋、刘宋不同朝代、不同地、不同国的僧人凑了五个混在一起,实在是硬抄五比丘的故事。我初看此书时,很怪日本僧人对中国历史之无知。以后才发现丰安原是用中国北齐沙门法上的记载,见于《法苑珠林》第八十九卷 《齐上统(即法上大沙门统)传》。又魏太武帝毁法后,佛教恢复时,首先落发者为罽宾沙门师贤等五人。外国送佛像来者为师子国的沙门五人(二事详《魏书·释老志》)。可见五比丘的说法,在北魏时早已流行了。而《扶桑传》也说是罽宾五比丘流通怫法经像。很显然这一切都是因袭释迦侨陈如五比丘传法的故事,并非事实也。本来,一地佛法之初传或复兴,总是由于僧人。但哪能常常是五人,而且与罽宾或北天竺有关系呢?
关于慧深与扶桑的问题,我只看过马南邨的《燕山夜话》和朱谦之及罗荣渠发表于《北京大学学报》1962年第4期上的两篇文章。其他中外学者对这问题所写的许多文章我都没有读过。而且由于精力不足,仅将我比较熟悉的《僧传》以及《梁书》再翻阅一下。只能提出一些关于文字上的意见,可能有误,希望得到指正。
洛阳人寄出漂流瓶被澳洲父子捡到 海洋专家惊呼是奇迹
http://hb.dahe.cn/News/118/201048/104824
“很高兴和你取得联系,我希望和你成为朋友,你愿意吗?中国河南省洛阳市金林镇刘村李新波。(音译:Liuvillage,JinLintown,LuoYangcity,Henanprovince”)
——昨晚本报搜索没有找到金林镇
联手洛阳晚报
寻找洛阳市刘村李新波
什么样的故事,让他(她)寄出漂流瓶?
“洛阳金林镇刘村”,这个相当模糊的地点,寻找起来真不容易。在百度里输入洛阳金林镇,出来3个搜索结果,可全不符合。再搜洛阳市金林镇刘村,提示没有相关地点。无奈最后输入洛阳刘村,真好,有7个搜索结果,还都靠谱,分别是洛阳市新安县刘村、洛阳市嵩县刘村、洛阳市伊川县刘村、洛阳市偃师市刘村、洛阳市市辖区南刘村、洛阳市伊川县梁刘村、洛阳市偃师市铺刘村。
李新波先生(或女士),你到底是来自哪个刘村呢?放下这个漂流瓶,你寄托了什么样的期望呢?在未找到故事主角前,一切还都是悬念。我们将联合洛阳晚报,尽力把这个谜底解开。如果读者有关于李新波的相关线索,也请致电本报热线67659999,我们一起把这个传奇故事继续下去。
据澳大利亚媒体7日报道,澳大利亚南部海滨城市季隆市居民迈克尔·劳伦斯和13岁儿子彼得·劳伦斯在附近洛恩海滨游玩时,竟在海滩上发现了一个被潮水冲上岸来的“漂流瓶”。当劳伦斯父子打开漂流瓶,根据“瓶中信”内容得知这只漂流瓶竟是来自1.1万公里远的中国河南洛阳市时,他们彻底惊呆了!据澳大利亚海洋专家称,这只漂流瓶从中国海岸跟随海洋潮流穿越赤道,并抵达澳洲南部海岸,简直就是一个难以置信的奇迹。据捡到漂流瓶的劳伦斯父子称,这只漂流瓶的主人是中国洛阳市金林镇刘村一名叫做李新波(音译)的人,他们将很快根据信中的地址,给漂流瓶的中国主人李新波回信。
澳洲父子海滨游玩,捡到洛阳“漂流瓶”
据报道,迈克尔·劳伦斯和13岁儿子彼得·劳伦斯生活在澳大利亚南部海滨的季隆市,父子俩经常到附近岩石遍布的洛恩海滨游玩。今年4月4日16时左右,当迈克尔在洛恩海滨的岩石上钓鱼时,他13岁的儿子彼得则在海滨沙地上到处寻找令他感兴趣的东西。突然,彼得在海滩上发现了一只旧威士忌酒瓶,他打开瓶塞,发现里面竟有一封用中文写出的“瓶中信”。
迈克尔相信他儿子彼得捡到了一只漂流瓶,他们带着这只漂流瓶爬上海边悬崖,然后驱车返回了季隆市的家。由于他们不懂中文,所以压根儿不知道“瓶中信”上到底写了些什么话。直到他们找到一个中文翻译后,他们才震惊地发现,这只漂流瓶竟然来自中国河南洛阳市!据悉,这只漂流瓶内的纸条上写道:“很高兴和你取得联系,我希望和你成为朋友,你愿意吗?”纸条最后写着漂流瓶主人的联系地址和姓名:中国河南省洛阳市金林镇刘村李新波(音译:Liuvillage,JinLintown,LuoYangcity,Henanprovince)。父亲迈克尔说:“这封信没有书写日期,不过它在瓶中保存得很好,因为写信人显然有先见之明,在瓶中塞了一些棉纸用来吸收湿气。”
海上旅行上万公里,最可能“漂流路线”有两条
据澳大利亚海洋专家称,这只漂流瓶从中国海岸漂流到澳大利亚南部海岸,至少在海上漂流了1.1万公里远的距离。目前尚不清楚这只漂流瓶是被李新波从洛阳附近扔入黄河,还是被他从中国东部海滨扔入大海的,不过澳大利亚联邦科学和工业研究组织的专家称,不管如何,这只漂流瓶从中国抵达澳大利亚南部洛恩海滨,只有两条最可能的漂流途径可以到达。
第一条漂流路线是这只漂流瓶跟随海洋潮流抵达了日本南部海域,然后又跟随海潮抵达菲律宾群岛,进入太平洋中,漂流瓶接着漂过澳大利亚东部海岸,经过塔斯马尼亚岛到达澳大利亚南部海域,最后它又被当地的海潮推送到了洛恩市附近海滩上。
第二条漂流路线则是从澳大利亚西部海岸抵达南部洛恩海滨。这只漂流瓶可能跟随海潮穿越了印度尼西亚群岛,抵达了澳大利亚北部海域,接着它沿着澳大利亚西部海岸线一路漂流到了巴斯海峡,最后被冲到了洛恩市附近海滨上。
澳大利亚海洋专家惊呼是“奇迹”
澳大利亚迪肯大学海洋生态学副教授劳利·劳伦森接受记者采访时称,一只漂流瓶从中国海滨经过这么长的距离成功抵达澳大利亚南部海岸,简直就是一个难以置信的奇迹,这一概率小到无法计算。劳伦森副教授说:“你想想就可以知道,从中国到澳洲洛恩海滨之间隔着许多东西,任何东西都可能会使它漂向不同的方向。”
据捡到这只漂流瓶的劳伦斯父子称,他们很快就将根据信中的地址,给漂流瓶的中国主人李新波回信。父亲迈克尔对记者说:“这只漂流瓶在海上旅行了这么长的距离,这真是太令人难以置信了。”
(责任编辑:刘彭军)
日本书法的历程
http://news.artxun.com/shufa-1210-6047470.shtml
日本人原先没有固有的文字,是从中国大陆传入有汉字的货币和器物以后,才开始认识文字的。能说明这一问题的早期遗物,有从弥生时代后期遗迹出土的新莽(8—23)货币“货泉”,还有福冈市志贺岛江户时代遗迹出土的“金印”(福冈市博物馆),当时的金印并非使用印泥,而是使用封泥。这些证实了《后汉书》中关于后汉时期日本使节来访的记载(《后汉书》东夷列传汉武帝中元二年)。此外,在丹后半岛尖端附近的古坟时代前期(4世纪)方形古坟(京都府弥荣町峰山町大田南5号墓)出土的铸有中国年号魏“青龙三年”文字的铜镜。这些说明我们祖先接触汉字的时间相当早。
从那以后,当时的日本人在大陆移民的帮助,通过汉籍的学习和书写逐步掌握了汉字。而在汉字传来之前,移民带来的耕作技术,使财富和权利已经相对集中,初步形成了日本的社会和政治制度雏形。这一切表明日本已经具备了接受文字的土壤。
对中国书法的接受和展开
对汉字,当时不仅作为外国语言来吸收,而且努力用其来表示日本语,最终形成了用汉字书写的日本语。
在日本熊本县江田船山古坟出土的5世纪后期铸造的大刀上有铭文,其中的日本人的名字,按一字一音来表现。琦玉县行田市稻荷山古坟出土的推测为471年制作的铁剑上镶嵌有雄略天皇名字和其他115个文字。这种文字的风格也有着大陆文化的影响,令人感到隶书的意趣。另外,和歌山县桥本市隅田八幡宫传世的人物画像镜上也可以看见隶书的风貌。这3件是现存最早有关古代书法的遗物,由此开始了日本书法的历史。
7至9世纪通过向中国派遣遣唐使,进一步加快了与中国的交流。作为同行者的留学生和留学僧在中国学习有益的知识和先进的技术,带回日本以后,使日本迅速汲取了中国文化。大化改新就是以唐朝为榜样建成的中央集权官僚国家,平城京同样也是以长安城为蓝本而建造的。因此在书法领域里以中国书法为法帖,并在其影响下发展也是极其自然的。
法隆寺“药师如来佛造像”和“释迦如来造像”的铭文,线条肥瘦形成对比,可以看到六朝楷书的影响。“船王后墓志”、“小野毛人墓志”等墓志铭都是以六朝风格为基础的。而“那须国石碑”也表现了笔力强劲有力的六朝风格。但是,被认为是7世纪末的长谷寺“法华说铜板铭文”则受唐初欧阳询的较大影响。
经卷的历史 6世纪中叶,百济圣明王赠送的鎏金释迦铜像和《经论》使佛教传入日本。这不仅在宗教方面有重要影响,而且对文化史乃至今天的生活都产生了巨大的影响。
《日本书纪》中关于天武天皇二年(673)在飞鸟川原寺书写《一切经》的记载是最早的写经记录。而天武天皇十四年年号的《金刚场陀罗尼经》(文化厅藏)则是最早的遗物,其细长的字体,显示了欧阳询的风格。
到了奈良时期,写经作为保佑国家的事业而大力推行。太平十三年(741)圣武天皇下诏在各地府设立国分寺、国分尼寺,东大寺为国分总寺,法华寺则为国分尼总寺。当时,安放在各国分寺塔内的是《紫纸金字金光明最胜王经》。本次展出的《紫纸金字金光明最胜王经》是广岛县尾道市西国寺传世的一套中的一卷,用金字书写在“金泥画细线紫纸”上。
《正仓院文书》中有“金尘灭紫纸”、“银尘红纸”、“金银绿纸”、“银薄敷红纸”、“敷金绿纸”等关于纸张的记载,还有在《经卷纳柜帐》(天平十年)中有“金银字”,《供奉请经目录》(天平胜宝三年)中有“蓝纸金银字”等记载,可以得知奈良时代已经书写了各种各样的装饰经。其中较为珍贵的有蓝纸银字的《二月堂烧经》(奈良东大寺、东京国立博物馆等藏)、《过去现在因果经》中的《绘因果经》(京都上品莲台寺藏)等。而《贤愚经残卷(大圣武)》(东京国立博物馆藏)相传是圣武天皇的手笔,列为“古笔手鉴”名作的首位。字体略显粗大,端正而富有气魄,充满力量,与中国北魏的《始平公造像记》风格酷似。对此件作品的鉴定,还有或是中国传入的写经、或是在日本的中国人所书写等多种说法。仔细观察,可以发现有笔墨重叠的痕迹。
奈良时代的写经文字由挺直的笔画构成,字体端正。通过写经,古人们逐渐掌握了汉字的书写,奠定了日本书法的基础,这是不可忽视的。
王羲之书法的传入 《扶桑略记》有为传教而来日本的鉴真到达太宰府的记载(天平胜宝六年正月十六日条)。鉴真还带来了“王右军”(王羲之)的真迹。圣武天皇的七七法会(天平胜宝八年六月二十一日)之际奉献给东大寺的目录《东大寺献物帐》(正仓院藏)中,记载有王羲之的书法20卷(《拓晋右将军王羲之草书卷第一》等)。其中所谓“拓”是印的意思,即在极薄的纸上面勾勒出字的轮廓,然后在轮廓中涂墨,也就是一般认为的“双钩填墨”技法。《丧乱帖》(宫内厅三丸尚藏馆藏)《孔侍中帖》(前田育德会藏)《妹至帖》(私人藏)等可能都是这种技法的残卷。不过,我们不能把这些简单地说成是“双钩填墨”作品,这是经过细腻描画、多次运笔而几乎乱真的作品。这些从唐太宗喜爱的王羲之作品上临摹下的作品被带到日本后,开始是被圣武天皇、光明皇后为首的宫廷人员作为学习书法的范本来使用的,后来则被作为珍贵文物收藏了起来,因为在《双仓北杂物出用帐》中曾有出借给恒武天皇内里的记录。
奈良时代中期的小治田安万侣、太安万侣,后期的石川年足墓志可以看到唐代冼练的书法风格影响。特别是石川年足墓志具有当时盛行的王羲之书法之逸韵,显示了一种格调美,为金石中极佳之作,可能是出自当时一流书法家之手。
三笔书法 平安时代初期的嵯峨天皇热爱唐朝文化,受其影响,当时宫廷贵族等知识阶层中广泛流行学习中国的汉字、汉诗、文学、历史和鉴赏,敕撰诗集《凌云新集》(弘仁五年)、《文华秀丽集》(弘仁九年)等相继完成。汉诗和汉文起初可能是音读的,改为训读作为日语读音以后,汉字的普及加快了速度。就在这个时候,空海(774—835)、嵯峨天皇(786—842)、橘逸势(?—842)作为三位著名的书法家登场了,被誉为“三笔”。三笔之称在日本是家喻户晓的,江户时代贝原益轩的《和汉名数》是记载这种说法最早的文献。11世纪初期,空海加上管原道真(845—903)、小野道风(894—966)又被尊称为“三圣”(《时政要略》)。
三笔之中,空海的存在意义特殊,他对以后的书法具有重大的影响。空海是日本佛教真言宗的开山鼻祖,随遣唐使入唐,在长安向惠果学习真言宗。大同元年(806)和橘逸势等人携带大批经卷等结伴回国。流传至今的空海作品有《风信帖》(教王护国寺藏)、《灌顶历名》(神护寺藏)等。空海的《金刚般若经解题》(京都国立博物馆藏、奈良国立博物馆藏)以轻妙而富于变化的运笔,夹以行书的优美草书写就。既说明了他曾经学习过王羲之的笔法,同时又可以看到唐朝当时盛行的颜真卿书法对其的影响。可见空海书法的表现力是高超而多方面的。
从上述作品可以了解到,中国书法对平安时代书法有着极为重要的影响。虽然是以中国书法为基础,但都表现出了各自的风格。
“和样”的成立
弘仁年间(810—824)清和天皇、醍醐天皇时代继续模仿中国的制度,但同时又对机构和法令进行一定的增减与修订,使之更适合日本国情。同时,由于中国政局不安定,遣唐使(遣唐使共任命20批,实际渡海16次,平安时代渡海2次)的派遣事宜因管原道真宽平六年(894)的建议而废止。继而由天皇下令编撰的敕撰和歌集《古今和歌集》完成等,加快了和样化的势头,日本本土独特的文化渐渐现出了萌芽。虽然是以中国文化为基础,但更趋于符合日本的风土和国民性,逐步确立了日本独自的文化样式。这种和风化的潮流也波及到了书法领域。
平安时代的写经 到了平安时代,以寺院和贵族为中心的写经盛行起来,原先担任写经的写经生慢慢地被僧侣替代,书法风格也发生了巨大变化。平安时代中期《法华经》信仰旺盛,《法华经》的主事、诵经、写经也一味地以劝说功德的《法师功德品》为盛,对经卷的表面和背面用华丽而优美的金银箔等装饰并绘画,极尽装饰之所能的装饰经出现。平安时代后期,偶尔也进行《一切经》和《大般若经》等大部头经的写经活动。
《浅草寺经》(浅草寺藏)是现存《法华寺经》一部八卷和首尾二卷的完整的十卷本。经卷使用洒金和金画线纸张,包首以金字题签,引首泥金银,并以大和绘法式绘有《法华经》经意。从端正温和的小字引首画来看,可推定为是平安时代(11世纪初期)的遗物。
《法华经》八卷本还可细分为二十八品(章),将二十八品分卷书写的是一品经。目前最早的遗物是《久能寺经》。此外,还有《化城喻品》(铁舟寺藏)、《安乐行品》(东京国立博物馆藏)等。
作为《一切经》的遗物,有《大唐西域记》(东京国立博物馆藏)。这是平安时代后期活跃在东北地区的藤原清衡的发愿遗物,以金银字交替书写。
贵族修养与字帖 日本曾经引进大量的汉籍。三笔时代以后,中国文化的引进也没有间断。受宇多天皇之敕命而由藤原佐理撰述的汉籍目录《日本国见在书目录》(成书于宽平三年前后)将当时在日本的汉籍进行了分类,书目的总数达到16790卷。可以想见当时日本在努力地吸收中国文化。当时能理解汉籍、流畅地诵读汉诗在宫廷中是被另眼相看的。日本现存有《毛诗》(东洋文库藏)、《古文尚书》(东洋文库、东京国立博物馆藏)等唐代写本,在世界范围来看这也是罕见的珍品,不难感觉到当时为学习和保存唐朝文化所做的努力。此外,在藤原宫和平城宫遗址出土了《论语》、《文选》的木简。《正仓院文书》中有《千字文》习字本,这些汉籍对官吏和写经生来说起到了教科书的作用。
敕撰和歌集《古今和歌集》的问世,正处在宫廷贵族爱好和风文化的时代,他们纷纷举办歌会、编撰各种歌集。因此,和歌在文学中心开始引人注目,并成为必备的修养,同时习字(书法)也是必不可少的修养和教养。能写一手漂亮的文字,在宫廷中会得到较高的评价。能作汉诗、和歌,同时又能文字优美,不仅会获得高度评价,同时更能赢得异性仰慕的目光。
善书者挥毫的作品,一般用“字帖”这个词汇来表示,与今天所说的字帖有所不同。这种手写的“字帖”是既可习字又可观赏的豪华字帖。在高贵的仪式和活动时可作为礼品互赠。当时常规的礼品有骏马或琵琶、琴、笛等传世佳品,但“字帖”则居礼品之首位。许多“字帖”就这样作为王朝贵族的礼品被保存下来。
三迹和平安时代中期的书法 在作为廉仓时代善书者而闻名的尊圆亲王(1298—1356)所撰《入木抄》中,曾提及管原道真的书法优美;道真和小野道(894—966)继承了前人的书法,而藤原佐理(944—998)和藤原行成(972—1027)则接受了道风的影响;同时还提及了当时笔法出现了笔杆似乎向右倾斜的变化。这种笔法的变化,正是形成“和样书法”特征的原因之一。包括了道风、佐理、行成的“三迹”与“三笔”先后延续了130多年,由此可以知道和样书法是经过了相当长的一段时间后才开花结果的。
小野道风仿佛是为了促使和样书法的形成而于废止遣唐僧这一年诞生了,并成为朱雀朝和村上朝首屈一指的书法家。因《天德三年八月十六日对诗行事记》中被誉为王羲之转世而风靡一世。与王羲之的遗墨比较,道风学习王羲之是再清楚不过的。《智证大师益号敕书》(东京国立博物馆藏)的“济”字和《集字圣教序》中的“济”字极其相似。《唐诗断简》(东京国立博物馆藏)和《绢地残卷》(本问美术馆藏等)可以看到,坚实字体的结构美是继承了王羲之的书法,而柔软、丰润的笔致则是独有的。平安末期的藤原教长(1109—1180)在《才叶抄》中认为,道风年轻时的字形较高,老年以后则敞怀而扁平。
藤远行成是在三条天皇、后一条天皇的即位大典大会上书写主基屏风、殿舍和大门匾额的著名书法家。《源氏物语》(综合)的作者赞赏说:道风所写的《宇津保物语绘卷》词书,贴近当世,富有兴味,引人注目。《今镜》卷五则认为:“道风时代人们以没有收藏他的书法作品为耻”,可见当时宫廷内对道风书法的爱好和评价之高。在如此时代环境中成长起来的行成,对道风无限仰慕是极其自然的。行成日记《权记》中就记载有他梦见道风并得到鼓励的故事。在通过《白氏诗卷》(东京国立博物馆藏)、《书状》(私人藏)等追随王羲之、小野道风的书法同时,他发挥天赋确立了自己的书法风格。行成的书法,纤细而优雅,明快而潇洒,运笔为稍微右倾的侧笔法。,转折部分比较轻快,属曲线运笔,横笔的角度平稳而流畅。由于行成的后代都擅长书法,在宫廷担任书写工作,并在书坛发挥了重要作用。因此,行成的书法很受尊重和仰慕,成为日本的习字字帖,支撑了悠久的传统。
古笔
“古笔”原指古人的笔迹,现在则专指平安时代至镰仓时代中期主要书写歌集的笔迹。保持了原装的古笔作品是日本书法“和样美”的典范。
种类繁多的假名 假名是借用汉字表示日语的表记,由“借名”转称“假名”。假名在日语发音表示上发挥了极其重要的作用,对平安贵族文学、尤其是和歌的繁荣贡献极大。
为适合更美、更优雅、更流利、更快速的要求,随后出现了各种字体的假名。首先,奈良时代的“男手”(万叶假名、真假名)在其反复书写的过程中形成了采用草书体的草假名。继而是简化的“女手”(平假名)、利用汉字的偏旁部首的片假名,以及先画草丛、岩、大雁等的轮廓图,然后填入文字的“苇手”。
作为草假名名作的有著名的《秋荻帖》(东京国立博物馆藏),这是平安时代的临摹本,原作可能是小野道风的真迹。
显示成熟假名的《高野切》是三人合书的作品,每人分别有一组作品。第一种的笔者有《大字和汉朗诵集切》、《深窗秘抄》等。第二种《古今和歌集卷第五》(私人藏)的笔者与《云纸本和汉朗咏集》(宫内厅三之丸尚藏馆藏)属同一人。第三种的笔者留有《倭汉抄》(阳明文库藏)《黏叶本和汉朗咏集》(宫内厅三之丸尚藏馆藏)等作品。
世尊寺家的假名 藤原行成的第八代行能将行成所建的世尊寺作为了家名,因此行成家族被称为“世尊寺家”。而“世尊寺家”成员的假名书法作品即为世尊寺家的假名。
“世尊寺家”在藤原行成之后善书者辈出,值得注目的遗作也不少。藤原伊房(1030—1096)系藤原行成之孙,所书《兰纸本万叶集》(京都国立博物馆藏)与平安朝典雅优美的假名不同,显示了假名难见的雄浑书体,具有节奏感。藤原伊房之子定实(1077—1119)也留下了不少遗作,他在代表平安时代古笔颠峰的作品《本愿寺本三十六人集》中书写了《贯之集上》《人吕集》(室町切),另有《元永本古今和歌集》(东京国立博物馆藏)、《卷子本古今和歌集》(文化厅藏)等。虽然咋看上去和父亲伊房的风格不同,但字体极为相似,只不过因运笔的节奏差异而具有自己独特的风格。定实之子藤原定信(1088—约1541)书写了《本愿寺本三十六人集》中的《贯之集下》(石山切)、《中务集》、《顺集》(糟色纸、冈寺切);《久能寺经》的《譬喻品》;《金泽本万叶集》(宫内厅三丸尚藏馆、前田育德会藏)等。继承了祖父伊房的气息较浓。定信之子藤原伊行(?—1495或14977)也留下了《苇手下画稿和汉朗咏集》(京都国立博物馆藏),父子两人各自展开阔达的书法,字体和气氛相似。
“世尊寺家”的各代都作为平安时代屈指可数的善书者活跃于书坛。
“和样”的展开与墨迹
室町时代,与茶道、花道、能乐一样,适应于日本的 “道”(道德)观念,形成了具有精神意味的“入木道”(书道)观念。“墨迹”是这一时代的代表。从字面上来说,“墨迹”是指墨书笔迹,在日本则多指高僧的笔迹,甚至只限于禅宗僧侣的作品范围。禅宗有临济宗、曹洞宗和以后传入的黄蘖宗,早期的遗留以临济宗僧侣的墨迹为多。由于长年的修行,僧侣会将精神世界反映到书法上,由此令鉴赏者感动至深。加之千利休以来,风行在茶会上悬挂“墨迹”,因此为许多茶道界人士所器重。以后,黄薜宗僧侣墨迹,同样在煎茶的茶会上很受欢迎。流传至今的中国禅林僧侣的墨迹,或是日本僧人带回日本,或是东渡时留书。其结果是被精心收藏。
大休正念(1215—1289)即佛源禅师,是中国宋朝的具有代表性的高僧,北条时宗时来到日本镰仓,为奠定镰仓禅的基础作出了贡献。《舍利启白文》(东京国立博物馆藏)是为供奉佛舍利而写的,规整的楷书是宋代书法的典型。
室町时代家喻户晓的一休宗纯(1394—1481)是大德寺第四十八世。《大灯国师上堂语》(东京国立博物馆藏)中运笔的缓急、行间的起伏和余白等都能想见一休的狂野、霸气和魄力,并由此折射出他卓越的书法才能,可以说是一件毫无保留地发挥了其书法魅力的作品。
安土桃山、江户时代的书法(宽永三笔和样)
室町时代至战国时代,京城文化广泛地向地方受众传播。在书法方面,由于始终重视传统而未能脱离窠臼,书体单一。接下来的安土桃山时代,由于接触了不同特质的欧洲文化,是日本难得的造型活动非常多彩的时代。在书法界,近卫信伊、本阿弥光悦、松花堂昭乘为代表的“宽永三笔”展开了积极的创作活动。
出自名门的近卫信伊(1565—1614),确立了表现天生霸气的鲜明强烈风格。他是一位尊重传统文化的宫廷贵族,从展出的屏风亦可看出其个性强烈的书风。屏风是放在室内用来挡风或隔断视线的用具。是宫廷、寺院、贵族、武士及富裕人家不可或缺的用具。信伊的屏风开辟了与以往不同的样式,“大字假名”的创新世界引人注目。
本阿弥光悦(1558—1637)在平安时代和样书法的基础上接受了中国宋朝张即之等人的影响,形成丰满艳丽的书风,并常在金银泥装饰画稿上创作与之协调、富有个性的书法,如《色纸帖》(五岛美术馆藏)、《折下绘和歌卷》(东京国立博物馆藏)等。
松花堂昭乘(1584—1639)是岩清水八幡宫的社僧,在以空海为祖的大师流之基础上形成了稳健的书风。充分发挥了大师流文字最后一画有起伏的装饰技法,书写有《三十六歌仙帖》(东京国立博物馆藏)。
此外,受到这个时代风气影响的后阳成天皇、照高院道澄亲王等人的书法,颇具魅力,为坚守传统的书法界带来了新的气息,深受欢迎。鸟丸光广是17世纪初的公卿,以自由奔放的笔致一气呵成地书写了《东行记》(东京国立博物馆藏),体现了光广的审美意识。
这一时期在幕府内从事书写的官吏称为“右笔”,代代选用自“御家流”。因此,这一书流广泛普及,不仅在幕府官员、家臣的武士阶层之间,甚至通过私塾流传市井庶民。这是实用主义的结果,在书法之美和格调上并无特别之处,但在幕府文治政策下,从庶民习字的角度看是特别值得关注的。
另一方面,“唐样”盛行。一直以来在日本知识阶层中,自室町时代以来就有“五山文学”的基础。随着江户幕府的儒学奖励政策,中国的文物和书法大量东渡,在江户中期至末期,以儒家为中心形成流行。尤其是禅宗黄蘖宗的盛传,成为促进日本向往中国的主要原因之一。隐元、木庵、即非作为“黄蘖三笔”,非常著名。
为了理解这些外来的儒学书籍和诗文集,首先必须读通汉文,才能理解和掌握。然而在继续阅读这些书籍的过程中,人们不仅对内容,而且对书写的文字本身产生了兴趣,导致憧憬其书风就不难想象了。而且以禅文化为背景出版的书籍中,序文和跋文多为中国名家和高僧撰写,其书法同样影响着宗教学习者。因此,日本的儒学家和文人墨客理所当然会接受中国流行的书法。
而当时学习的对象以宋代的米元章、张即之,元代赵子昂,明代的祝允明、文徵明、董其昌等为主。从江户时代书籍目录可以得知,日本曾刊行上述书家的法帖。宽文、元禄、享保年间数量还不多,但到了宝历年间,仅明代祝允明、文徵明、董其昌就有70余种。当时人们先偏爱文徵明的书法,不久逐渐转向董其昌。可见这两人的书法更容易为日本人所接受。
学习明代文徵明书法的细井广泽(1658—1735)、三井亲和(1700—1782)留有笔力强劲流畅,笔致巧妙的遗墨。
到了幕府末期,出现了市河米庵(1779—1858)、卷菱湖(1767—1833)、贯名菘翁(1778—1863)等“幕末三笔”以及佐藤一斋、赖山阳(1780—1832)等众多书法家。市河米庵,如其号所表明的那样曾私塾米元章。擅长雄浑的书风。弟子五千,分布各个阶层。
纵观日本书法推移,不难看出日本的书法是不断地受到中国书法影响的。中国的书法,即使在重视个性的宋元时代也不断受到王羲之的影响,而日本书法,却一直在中国书法的影响之下。虽然存在平安时代的“三笔”、“假名”,安土桃山时代到江户时代的“和样”这些日本独有的书法,但其主流还是中国的书法。
十二宫图



~ The 88 Constellations ~
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Click here: Sky Map
| Andromeda | The Princess |
| Antilia | The Pump |
| Apus | The Bird of Paradise |
| Aquarius | The Water Bearer |
| Aquila | The Eagle |
| Ara | The Alter |
| Aries | The Ram |
| Auriga | The Charioteer |
| Bootes | The Herdsman |
| Caelum | The Chisel |
| Camelopardalis | The Giraffe |
| Cancer | The Crab |
| Canes Venatici | The Hunting Dogs |
| Canis Major | The Large Dog |
| Canis Minor | The Small Dog |
| Capricornus | The Sea Goat |
| Carina | The Keel |
| Cassiopeia | The Queen |
| Centaurus | The Centaur |
| Cepheus | The King |
| Cetus | The Whale |
| Chamaeleon | The Chameleon |
| Circinus | The Compasses |
| Columba | The Dove |
| Coma Berenices | The Berenice's Hair |
| Corona Australis | The Southern Crown |
| Corona Borealis | The Northern Crown |
| Corvus | The Crow |
| Crater | The Cup |
| Crux | The Southern Cross |
| Cygnus | The Swan |
| Delphinus | Dolphin |
| Dorado | The Goldfish |
| Draco | The Dragon |
| Equuleus | The Colt |
| Eridanus | The River |
| Fornax | The Furnace |
| Gemini | The Twins |
| Grus | The Crane |
| Hercules | The Champion |
| Horologium | The Pendulum Clock |
| Hydra | The Sea Serpent |
| Hydrus | The Serpent |
| Indus | The Indian |
| Lacerta | The Lizard |
| Leo | The Lion |
| Leo Minor | The LIttle Lion |
| Lepus | The Rabbit |
| Libra | The Scales |
| Lupus | The Wolf |
| Lynx | The Cat |
| Lyra | The Harp |
| Mensa | The Table |
| Microscopium | The Microscope |
| Monoceros | The Unicorn |
| Musca | The Fly |
| Norma | The Carpenter's Square |
| Octans | The Instrument |
| Ophiuchus | The Serpent Bearer |
| Orion | The Hunter |
| Pavo | The Peacock |
| Pegasus | The Flying Horse |
| Perseus | The Hero |
| Phoenix | The Firebird |
| Pictor | The Painter's Easel |
| Pisces | The Two Fish |
| Pisces Austrinus | The Southern Fish |
| Puppis | The Ship's Stern |
| Pyxis | The Ship's Compass |
| Reticulum | The Net |
| Sagitta | The Arrow |
| Sagittarius | The Archer |
| Scorpius | The Scorpion |
| Sculptor | The Sculptor's Tool |
| Scutum | The Shield |
| Serpens | The Serpent |
| Sextans | The Sextant |
| Taurus | The Bull |
| Telescopium | The Telescope |
| Triangulum | The Triangle |
| Triangulum Australe | The Southern Triangle |
| Tucana | The Toucan |
| Ursa Major | The Big Bear |
| Ursa Minor | The Little Bear |
| Vela | The Sails |
| Virgo | The Maiden |
| Volans | The Flying Fish |
| Vulpecula | The Little Fox |
Click here: Quick Guide to the Constellations
Click here (shown in red): The Southern Constellations
Click here (shown in green): The Zodiac Constellations
Click here (shown in blue): The Northern Constellations
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Get to know the Winter Circle:
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Above: Winter Circle (note star color):
Capella is yellow. Aldebaran is orange. Betelgeuse is red. Rigel is blue. Sirius is blue-white.
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Above: Winter Star Chart for the Northern Hemisphere

Above: Spring Star Chart for the Northern Hemisphere

Above: Summer Star Chart for the Northern Hemisphere

Above: Fall Star Chart for the Northern Hemisphere
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Above and Below: Star Chart of Southern Constellations
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Above and Below: The Celestial Sphere
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Note: "Declination" and "Ascension" is like "Longitude" and "Latitude" for the sky.

"Starry Night"
by Vincent van Gogh
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Above: Charles Messier and his Deep Sky Objects
Click here: Catalog of the 110 Messier Objects
(Non-Star Deep Sky Objects listed by Charles Messier)
Click here: New General Catalogue (NGC) Deep Sky Objects
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~ Constellation Connect-the-Dots ~
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Cassiopeia - The Queen | Gemini - The Twins (Castor and Polux) |
Learn More: Queen Cassiopeia / Gemini Twins - Castor and Polux
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The Royal Family: King Cepheus, Queen Cass, Princess Andromeda |
Learn More: Royal Family of the Night Sky
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Can you identify the connect-the-dot patterns above?
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Orion - The Hunter | Canis Major - The Hunting Dog |
Learn More: Orion the Great Hunter / Canis Major and Minor - the Hunting Dogs
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(the Little Hot Dog) |
Do you see a little hunting dog in the constellation connect-the-dots above?
Astronomers must have active imaginations!
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Ursa Major and Ursa Minor | The Big and Little Dippers with Draco |
Learn More: Draco the Dragon / Ursa Major and Ursa Minor - The Bears & Dippers
Above: Quicktime Movie Showing a 3-D Trip around the Big Dipper
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Taurus - The Bull | Pegasus - The Flying Horse |
Learn More: Taurus the Bull / Pleiades Star Cluster - The Seven Sisters / Pegasus

Web Surfin' Safari:
Click here: Star Surfin: Constellations / Mallorca Constellation Search
Click here: NASA Lucky Stars Cootie Catcher / Uncle Al's Replacement Sky Wheel
Click here: Ursa Major: The Big Dipper / Ursa Minor: Polaris: The North Star / Mobile
Click here: Find the Big Dipper Video / Jack's Stargazer Videos / Orion the Hunter / Chart
Click here: Astro Viewer / Dibonsmith Constellations / Planetarium Pictures / Google Sky
Click here: Hawaiian Deepsky Atlas / Astrosurf Constellations / Constellations by Month
Click here: Enchanted Learning Constellations / Astrowisc Constellations and Stars
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Click here: Greek Myths / Mythology / Multi-Cultural Star Myths
Click here: Star Tales / Greek Star Myths / Legends of the Constellations
~ The 12 Zodiac Constellations ~
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Above: Zodiac Symbols
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Above: The Zodiac Constellations are positioned along the sun's path (Ecliptic) in the sky.
~ Zodiac Signs and Birthdates ~
| Aquarius the Water Bearer: (January 20 - February 18) | |
| Pisces the Fish: (February 19 - March 20) | |
| Aries the Ram: (March 21 - April 19) | |
| Taurus the Bull: (April 20 - May 20) | |
| Gemini the Twins: (May 21 - June 21) | |
| Cancer the Crab: (June 22 - July 22) | |
| Leo the Lion: (July 23 - August 22) | |
| Virgo the Maiden: (August 23 - September 22) | |
| Libra the Scales: (September 23 - October 23) | |
| Scorpio the Scorpion : (October 24 - November 21) | |
| Sagittarius the Archer: (November 22 - December 21) | |
| Capricorn the Sea Goat: (December 22 - January 19) |
~ The Twelve Zodiac Characters ~
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~ Astrology and Horoscopes ~
| Aquarius | Independent, Perceptive, Intellectual |
| Aries | Energetic, Assertive, Leader, Aggressive |
| Cancer | Introverted, Emotional, Sensitive, Moody |
| Capricorn | Disciplined, Rigid, Practical, Ambitious |
| Gemini | Flexible, Restless, Communicative, Logical |
| Leo | Ambitious, Extroverted, Proud, Confident |
| Libra | Idealistic, Peacemaker, Gracious, Charming |
| Pisces | Serious, Sympathetic, Artistic, Imaginative |
| Sagittarius | Casual, Friendly, Enthusiastic, Honest |
| Scorpio | Intense, Determined, Powerful, Mysterious |
| Taurus | Determined, Cautious, Conservative |
| Virgo | Practical, Responsible, Sensible, Critical |
Click here: Zodiac Sign Personality Traits
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~Ancient Cultures as Astronomers~
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Egyptian Merkhet |
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Astronomy at the Great Pyramid (LiveCam) at Giza, Egypt
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Native Americans look to the stars
Click here: Early Observatories
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Native American "Woodhenge" Star Observatory
Click here: America's Stonehenge (N.H.)
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England's Early Astronomical Observatory: Stonehenge
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Above: Arabic Mansions of the Moon
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Above: The Chinese Zodiac
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Tibetan Kalachakra Wheel of Time
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Mayan Calendar: Countdown to the Winter Solstice 12-21-12

Above: The Aztec Zodiac Calendar
~ Precession and the North Star: Polaris ~
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Nightly Swirl around the North Star |
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Above: Gyroscope
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Precession of the Axis | Historical North Stars |
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It takes 26,000 Years to Complete One Cycle of Precession | Chart of North Stars Throughout History |

Above: Precession (wobble) of the Earth's Axis

The Current North Star: Polaris

Pointer stars in the "Big Dipper" lead to Polaris, the North Star.
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Surf the Web:
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Filling the Sky / Big Dipper Video / Winter Sky Chart / Best Constellation Information / Sky Chart / Myths
88 Constellations / 12 Zodiac / Sky Charts / Constellation Guide / Mythology / Astrology / Connect the Dots
中国古代“百越”文化东延略说
中国古代“百越”文化东延略说
——谈中国东南同太平洋区域的文化交流
早在30年代,中国民族学者就曾提出,中国境内对外文化交往,是以向太平洋区域的延伸为主的。1978年一位寓居海外的中国学者重申了这一看法。[1]从宏观地理形势看,境内的东南地区,处太平洋西岸;从文化和习俗看,发源于中国东南地区的古代“百越”,同太平洋区域的不少土著民族,有较多的共同点。因此,本文在赞同上述看法的前提下,试图探讨中国古代“百越”文化同太平洋区域之间文化交流问题。
二
中国学者把中国古代“百越”地区的新石器时代文化称为“先越文化”。[2]在探讨中国古代“百越文化”同太平洋区域的文化交流时,首先可以看到,具有地域特色的新石器文化——有段石锛,不仅发源于中国东南地区,而且曾经远涉重洋,传播到太平洋区域。
早在50年代,我国已故的
有段石锛在中国东南地区产生后,越过海洋传到太平洋的玻利尼西亚诸岛,经过了一个漫长的历史过程。这个漫长的历史过程,又是同中国古代造船技术的发展水平紧密相联的。
据
那就是说,发源于中国东南地区的“先越文化”遗物——有段石锛,从中国大陆传到太平洋诸岛,经历了从3000年前到在1000年前的漫长