鄧淑蘋，觀天思地、崇日拜月－齊家文化玉石器的神秘性

中西交通的动力来自于不同文明间的相互 吸引。中国境内出土的外国遗物， 原中国社会 科学院考古研究所所长徐苹芳先生曾经做过系 统的整理， 近年来又有不少新的发现。从保存 的状况看， 这些异域珍宝保存状态都比较好， 即 使是很薄的玻璃器， 可见中国古人对其珍视的 程度。这些来自远方的器物在中国都有具体的 出土地点， 我们可以借以了解这些文物的年代 下限， 也就是不晚于什么时间， 但是， 对于这些 文物生产和制作的"原境"的研究， 需要多方面 的合作， 才能够取得比较满意的成果， 因为这些 文物来自不同的文明， 制作时间跨度很大。 意大利那不勒斯东方大学亚洲、 非洲和地 中海系跟北京大学考古文博学院计划通过长期 的合作， 深化学术界对中西交流的研究， 《异宝 西来：考古发现的丝绸之路舶来品研究》其中 的一项阶段性成果。除了需要感谢两位主编 葛嶷和齐东方教授不懈的努力之外， 北京大学 考古文博学院的魏正中教授做了大量的基础性 工作甚至是行政性工作， 也是需要特别感谢的。 尤其欣喜的是， 通过这种长期的合作， 一些年轻 学者成长了起来， 可以预见他们在未来的中西 交通的研究中， 都会成为中坚力量。 前 言 Preface 葛嶷、 齐东方 著， 李雨生 译 Bruno Genito, Qi Dongfang, trans. by Li Yusheng 异宝西来：考古发现的丝绸之路舶来品研究 West and East: archaeological objects along the silk roads 2 常常因为语言等原因无法全面了解它们的出土 背景。本项目的初衷便是试图通过推动中外合 作来打破这种壁垒。具体来说， 在前期广泛搜 集资料并保持密切沟通的基础上， 选取跟陆上 丝绸之路关系最密切的、 西北五省区出土的宋 代以前的 49 件外来物品为研究对象， 这些遗物 包括了不同的材质和渊源， 多数来自科学考古 发掘， 拥有可靠的出土背景信息， 有的还有明确 的年代下限。由中方提供出土背景及研究状况 的详细资料， 然后意方学者根据这些资料重新 审视过往研究并撰写条目， 最后再经双方讨论 定稿。除此之外， 项目收录了项目双方负责人 的两篇论文， 反映出中外学人各自对丝绸之路 的独特理解。项目最终成果以中、 英双语出版， 方便中外学者参阅。器物的中文名采用中国国 内学界长期以来约定俗成的称呼， 而英文名则 按照意方建议尽量从简。 本项目从刚开始的偶然提议到如今付梓在 即， 断断续续八年时光匆匆而过， 其间由于早已 为中国学者所熟悉的种种原因， 意方学者一直 希望的实物观摩环节始终无法成行， 一定程度 上限制了合作研究的进一步深入。但或许可以 这么理解， 缺憾本身即意味着未来更为广阔的 合作空间， 衷心希望我们这本小书的出版可以 为将来开展更深层次的中外合作考古研究略尽 绵薄之力。

A new account of the “Nine Provinces” (Jiu zhou九州) discovered in the Rong Cheng shi容成氏 (Mister Rong Cheng?) manuscript of Chu provenance dated to the late 4th century BC has resulted in the immediate addition of this text to the list of the key early Chinese sources describing terrestrial space. Its importance is enhanced by the general rarity of manuscripts among early Chinese terrestrial descriptions, its description of the “Nine Provinces” being the only manuscript version known to date. However, it has close affinity with a wide spectrum of transmitted texts, and is distinguished by its combining of diverse spatial concepts with the central role of draining excess waters. Its eclectism thus throws more light on transmitted versions of the “Nine Provinces” than manifests any radically new or specifically Chu traits. This conclusion is true with respect to the description proper of the “Nine Provinces” and is based on parallels with other texts. In this study I reassess this conclusion with respect to the context of this passage in the Rong Cheng shi, challenging an initial impression of its lack of any Chu flavour. While the parallels of the new description of the “Nine Provinces” with those in transmitted texts has attracted considerable scholarly attention, its relation with other issues concerning terrestrial space in the Rong Cheng shi has not yet been studied. Before discussing the spatial issues in this manuscript, I shall first revise all the reconstructed sequences of its slips (Introduction). Then I shall focus on the especially controversial slip 31, which appears to be of primary relevance to spatial concepts (Part 1). It contains a reference to a “cosmograph”-like pattern followed by a description of managing landscape features, beginning with waterways. I shall discuss the place of this pattern in early Chinese cosmography, in particular, the link of the “policy statement” on the predominance of waters to the version of the “Nine Provinces” in the manuscript. I suggest that, from the point of view of the revealed spatial concepts, slip 31 should be placed prior to the group of slips that describe terrestrial disasters that preceded the establishment of the “Nine Provinces”. Having concluded that the predominance of waters is the distinguishing feature of the representation of terrestrial space in the manuscript, and comparison with another cosmographical manuscript of Chu provenance contemporary with the Rong Cheng shi, the Chu Silk Manuscript no.1 (ca. late 4th century BC), I suggest that this feature may be characteristic of Chu descriptions of terrestrial space. My main attention will be focussed on solving the spatial problem in the conclusion to the “Nine Provinces”, which up to now has been noted only in passing as somewhat confusing (Part 2). It provides a summary of structuring terrestrial space through waterways, and cuts the space thus mapped into southern and northern halves along the Han River. I argue that this unusual usage of the Han River as the central axis implicitely shifts the mapped area to the South, and thus conveys a Chu view of space, while explicitely respecting the spatial framework of transmitted descriptions of the “Nine Provinces”. In addition to philological analysis of the descriptions of terrestrial space, I shall apply an innovative method of investigation of them through landmarks. Landmarks found in these descriptions, including the Han River, will be explored as elements of relational mapping. Relational mapping is characteristic of traditional Chinese cartography. The earliest specimens of relational mapping of the entire imperial realm date from the twelfth century onwards. Although the majority of these maps appeared as part of commentaries on early terrestrial descriptions and are products of a continuous tradition of representing space, they are rarely taken into consideration in studies of early texts. Finally, I shall discuss a correlation between structuring terrestrial space through waterways and the concept of Yu’s personal and exhausting physical engagement in hard work (Part 3). The description of the “Nine Provinces” with the related preceding and following slips – slips 31 and 23-15-24-25-26-27-28-29 – is provided in the ANNEX).

Early China, 2017

With this issue, Early China reaches volume 40 (2017). 1 The journal was founded by David N. Keightley (1932-2017), who died on February 23 of this year. This volume is dedicated to his memory. Keightley, a specialist in oracle-bone inscriptions and Shang dynasty history, taught in the History Department at the University of California at Berkeley from 1969 to 1998. I was a graduate student in what was then called the Department of Oriental Languages from 1966 to 1972. I had already finished my coursework when Keightley began teaching, but, in 1970-1971, he offered graduate seminars on reading oracle bone and bronze inscriptions that I attended. They were the perfect complement to Boodberg's philology and this experience was critical to the direction of my later research. Indeed, Keightley's focus on ancient inscriptions as a source material for the study of Chinese history influenced the trajectory of the entire field of early China studies in the West and gave this journal its particular character. Thus, in this volume's "Letter from the Editor," I would like to take the opportunity to reminisce a little about the period when the journal was founded and to make some personal observations about the future of the field.

Arts Asiatiques, 2017

En 1790, une extraordinaire pierre à encre (yanshan) en forme de main refit surface à Pékin, attirant la curiosité des antiquaires locaux. Sa forme était aussi exceptionnelle que sa provenance : conçue pour Li Yu (937-978), elle avait fait partie des trésors de la collection légendaire de Mi Fu (1051-1107. Weng Fanggang (1738-1818) l'a alors étudiée de près et a partagé ses découvertes dans un essai écrit sur un long rouleau où se trouvent également quatre représentations de la pierre : deux peintures et deux estampages. Guidé par le nouveau principe de l'objectivité, Weng a mis à l'épreuve tous les récits apocryphes relatifs à l'histoire et aux propriétés de la pierre, en les confrontant aux nouvelles preuves empiriques. Pourquoi présenter ce matériel sur une peinture ? Cet article présente les efforts déployés par Weng Fanggang et ses artistes pour capturer l'image la plus authentique de la pierre, exposant comment la rigueur académique est devenue inséparable de l'imagination artistique dans la quête du passé propre à la fin du xviii e siècle.

On July 13, 2008, the world's largest word emblazoned in landscape was revealed with great fanfare near Beijing. Carved into the cliff of Yunlongjian Peak, this word was the 2008 Olympic logo "Dancing Beijing," featuring the stylized calligraphic character jing 京 (capital). The carving project also included the Record of the Carving of the Olympic Logo, describing the circumstances under which it was produced. One may argue that the carving of the logo, so large and prominent that it is visible from miles away, is a product of modern commercialism. But in fact the simple concept of fixing memories and ideas on the surface of the earth through the carving of texts has deep roots in Chinese culture. This event illuminates the importance and relevance of Robert E. Harrist Jr. 's new book. The carved logo and the Record are recent additions to the centuries-old tradition of "polished-cliff carving" (moya 摩 崖), the subject of Harrist's study. Moya, or moya shike 摩崖石刻, are texts carved into granite boulders and cliffs that are part of the natural terrain. They began to appear in China during the first century C.E. Over the course of the two thousand years since then, they have been carved in all areas of the country, and have become one of the distinguishing features of Chinese civilization.

2021

Rodo Pfister. (2021, July 5). Feng Shenyu stele (505 CE) • Feng Shenyu deng erbainian ren zaoxiang bei 馮神育等二百廿人造像碑 (Casual Notes for Friends 2) (Version 0). Zenodo. http://doi.org/10.5281/zenodo.5070447 Contents: Overview, 1 Feng Shenyu stele text transcript, 1 Studies, 2 Schwartz Cut, detail of front side, November 30, 1987, 8 Rubbings, 10 CBETA Feng Shenyu Stele Text Transcript, 15