公告

[公告] 「港台學術資訊」不是我的微博

Thursday, June 22, 2017

Buddhist Stone Sutras in China: Shandong Province 3: With an essay by Zheng Yan (中國佛教石經:山東省:第三卷)

Editors:
Suey-Ling, Tsai 蔡穗玲
Yongbo, Wang 王永波

Publisher:
Harrassowitz

Publication date:
1 June 2017




Abstract:

The third volume of the five-volume series on Buddhist stone sutras in Shandong presents inscriptions on all mountains in Shandong other than those near Lake Dongping 東平湖 (volume 1) and the city of Zoucheng 鄒城 (volume 2), with the exception of Taishan 泰山 (to be covered in volume 4). 

The northernmost entry in this volume is a lost inscription (ca. 526) once situated among the sculptures at Yellow Stone Cliff 黄石崖, south of Jinan 濟南. Zheng Yan 鄭岩 analyzes the art historical significance of this site. Inscriptions under the open sky occur elsewhere at Mount Culai 徂徕 (dated 570), Mount Fenghuang 鳳凰山 (ca. 563 and 921), Mount Shuiniu 水牛山 (ca. 560), Mount Tao 陶山 (second half, 6th c.), and Mount Long 龍山 (second half, 6th c.), this last site discovered only in 2008. Lost inscriptions on Mounts Jian 尖山 (dated 575), Yang 陽山 (second half, 6th c.), and Ziyang (second half, 6th c.; here identified for the first time) have been reconstructed based on extant rubbings, epigraphic literature, and archaeological evidence. While “Perfection of Wisdom” now emerges as the key doctrinal concept in the Shandong mountains, the names of Buddhas, of which “Buddha King of Great Emptiness” is especially conspicuous, engender visions of cosmic time and space.

All engravings are fully documented with photographs and rubbings; they are transcribed, translated into English, and analyzed. This research has been conducted under the auspices of the Heidelberger Akademie der Wissenschaften by an international team led by Lothar Ledderose and supported by the cultural authorities in China. The volumes, bilingual in Chinese and English, address a wide audience.

Saturday, June 17, 2017

雲岡石窟の考古学: 遊牧国家の巨石仏をさぐる

Author:
岡村秀典 (OKAMURA, Hidenori)

Publisher:
臨川書店

Publication Date:
June 2017

Abstract:

日中両国でいまなお平行線をたどる雲岡石窟の編年説に挑む!!
敦煌・龍門とならび中国三大石窟の一つである雲岡石窟。京都大学人文科学研究所の前身である東方文化研究所の水野清一・長廣敏雄は、日中両国が戦火を交える最中、世界に前例のない石窟の悉皆調査に踏み出した――人文研に蔵する膨大な資料と写真群を整理してきた著者が、日中間でいまなお平行線をたどる雲岡の編年説に挑む!200点を超える貴重な図版を収録。



Table of Contents:

はじめに

第一章 雲岡石窟をめぐる歴史
 第一節 石窟前史
 第二節 文献にみえる北魏の石窟寺
 第三節 碑文にみえる復興事業
 第四節 発見と調査
第二章 雲岡石窟は如何にして造られたのか
 第一節 石窟の源流をたどる
 第二節 従来の年代観と新しい編年案
 第三節 未曾有の大工事
第三章 大仏窟の成立
 第一節 巨石仏の造像――前1期
 第二節 未完の大仏窟――前2期
 第三節 中央丘陵に広がる大仏窟――前3期
 第四節 雲岡前期の彫像
 第五節 大仏と皇帝
第四章 仏殿窟の成立
 第一節 双窟の出現――中1期
 第二節 馮太后の顕彰事業
 第三節 民間の造像――太和七年龕
第五章 中国式木造建築をかたどった石窟
 第一節 仏殿窟の完成――中2期
 第二節 双窟と「二聖」
 第三節 変容する仏殿窟――中3期
 第四節 塔廟窟と漢式服制の成立
第六章 雲岡石窟その後
 第一節 洛陽遷都後の中小窟――雲岡後期
 第二節 隋唐時代の仏三尊像
 第三節 遼金時代における石窟寺の復興

参考文献
あとがき
索引

Monday, June 12, 2017

Traditional Chinese Architecture: Twelve Essays

Author: 
Fu Xinian

Editor:
Nancy S. Steinhardt

Translator:
Alexandra Harrer

Publication date:
6 June 2017

Publisher:
Princeton University Press




Abstract:

Fu Xinian is considered by many to be the world's leading historian of Chinese architecture. He is an expert on every type of Chinese architecture from every period through the nineteenth century, and his work is at the cutting edge of the field. Traditional Chinese Architecture gathers together, for the first time in English, twelve seminal essays by Fu Xinian. This wide-ranging book pays special attention to the technical aspects of the building tradition since the first millennium BC, and Fu Xinian's signature drawings abundantly illustrate its nuances.

The essays delve into the modular basis for individual structures, complexes, and cities; lateral and longitudinal building frames; the unity of sculpture and building to create viewing angles; the influence of Chinese construction on Japanese architecture; and the reliability of images to inform us about architecture. Organized chronologically, the book also examines such topics as the representation of architecture on vessels in the Warring States period, early Buddhist architecture, and the evolution of imperial architecture from the Tang to Ming dynasty. A biography of Fu Xinian and a detailed Chinese-English glossary are included.

Table of Contents:

Biography of Fu Xinian 傅熹年 xxv

1 Representations of Architecture on Vessels of the Warring States Period 1

2 Reconstruction of Northern Dynasties Buildings Based on Relief Sculpture and Murals in Cave-Temples at Maijishan 31

3 Early Buddhist Architecture in China 79

4 The Development of Timber-Frame Architecture during the Two Jins and the Northern and Southern Dynasties 97

5 Architectural Features of the Northern and Southern Dynasties and the Sui and Tang Periods in China as Reflected in Japanese Architecture of the Asuka and Nara Periods 140

6 Hanyuan Hall at Daminggong in Tang Chang'an 167

7 The Module in Tang Architecture 209

8 Imperial Architecture of Tang through Ming and Its Relation to Other Architecture 226

9 The Problem of Pillar Displacement with Respect to the Characteristics of Song Construction 253

10 Song Architecture in South China and Its Relation to Japanese Great Buddha-Style Architecture of the Kamakura Period 273

11 Northern Song Architecture in the Painting A Thousand Li of Rivers and Mountains by Wang Ximeng 296

12 Typical Design Features of Ming Palaces and Altars in Beijing 315

Saturday, June 10, 2017

[Dissertation] Writing as Weaving: Intertextuality and the Huainanzi’s Self-Fashioning as an Embodiment of the Way

Author:
Tobias Benedikt Zürn

School:
University of Wisconsin-Madison

Defended:
2016

Advisers:
Mark Meulenbeld; Mark Csikszentmihalyi

Abstract:

In her seminal essay “Against Interpretation” from 1964, Susan Sontag (1933-2004) tackled the dominant position of interpretation as the default mode of engagements with cultural objects. Since she sounded the call to defy the common hermeneutic strategy of emphasizing content over form more than fifty years ago, the phenomenon of privileging the production and deduction of meaning over the immediate presence of cultural objects persists in the Humanities. In my specific case, scholars in the field of Early China still read scriptures predominantly within an assumed philosophical context displaying a reductionist approach to writings that precludes from the outset the possibility of any non-discursive function(s) for texts. In other words, their interpretations rarely consider textual artifacts to be agents within contexts such as ritual or gift exchanges. My dissertation, titled “Writing as Weaving: Intertextuality and the Huainanzi’s Self-Fashioning as an Embodiment of the Way,” addresses this issue from the vantage point of the Huainanzi 淮南子, a highly constructed and intertextual scripture from the second century BCE that scholars have traditionally read in philosophical terms. Contrary to its current interpretation as an encyclopedic collection of philosophical treatises, the dissertation shows that the Huainanzi, which Liu An 劉安 (ca. 179-122 BCE, r. 164-122 BCE), the king of Huainan 淮南, presumably presented in 139 BCE at his inaugural visit to his nephew Emperor Wu 漢武帝 (born Liu Che 劉徹; 156-87 BCE, r. 141-87 BCE), had been fashioned as a powerful manifestation of the Way (dao 道). 


In the first part of the dissertation, I demonstrate that the Huainanzi employs at least the three images of a tree’s root (ben 本), a chariot wheel’s hub (gu 轂) or axle (zhu 軸), and a weaving (jingwei 經緯) or knotting (jigang 紀綱) texture that are commonly associated with the cosmos and the power (de 德) of the Dao to create a homology between the Liu clan’s scripture (Liushi zhi zhu 劉氏之書), the sage, and the Way. Hence, I propose that the Huainanzi had been fashioned in image (xiang 象) of the force that underlies the organization of the universe. In the second part of the dissertation, I showcase through the example of weaving that the Huainanzi is not merely depicted in homological terms with the Way. Based on a perceived correlation of the practices of writing and weaving during the Han dynasty (206 BCE-220 CE), I suggest that the Huainanzi in fact mimics and implements the cosmic process of weaving in its design and intertextual writing practice. By inserting and connecting various traces (ji 跡) of the words (yan 言) and deeds (shi 事) of pre-Han writers and kings in its texture, Liu An and his workshop apparently fashioned the Liu clan’s scripture both as being in image and as an embodiment of the Way (tidao 體道)—of the very force that connects and weaves together the celestial patterns (tianwen 天文) and terrestrial forms (dixing 地形) into a cosmic texture. Consequently, I speculate in my conclusion that Liu An and his workshop might have created the Liu clan’s scripture in image and as an embodiment of the Way in order to produce an wuwei-performing textual artifact that fulfills a similar role as the sage. By belonging to the Dao’s universal image or appearance category (xiang zhi lei 像之類 or xinglei 形類), the Huainanzi like the sage would create resonating correspondences (ganying 感應) with all the Myriad Beings (wan wu 萬物) and therefore would be able to impact and organize the entire world. Accordingly, my dissertation claims that we should further explore the possibility of non-discursive functions for Liu An’s miscellaneous and highly intertextual texture and potentially many other early Chinese texts. In fact, we should renegotiate the Huainanzi’s current and almost naturally assumed categorization as a “mere” encyclopedia and/or miscellaneous collection of philosophical treatises that educates about rather than actualizes or effects sagely rulership and cosmic order.

Thursday, June 8, 2017

アジア仏教美術論集 東アジア—(後漢・三国・南北朝)

Editor:
濱田 瑞美 (HAMADA Tamami)

Publisher:
中央公論美術出版

Publication Date:
May 2017



Abstract:

インドに興った仏教はどのように受容されたのか。中国固有の伝統思想との交渉、民族間の対立、割拠する王権や僧団とのかかわりの中で展開された多彩な「仏のかたち」を浮かび上がらせる18篇の論考を集録

Table of Contents:

総論 後漢から南北朝期の仏教美術―仏教の受容と仏像のかたち/濱田瑞美

1 仏教受容早期の仏教美術

漢代の立体人物像にみる具象と抽象―中国における仏像制作の前史として/楢山滿照
中国早期仏像の諸問題―近年報告された長江流域の作例をめぐって/金子典正
北涼石塔にあらわれた易経八卦と七仏一弥勒造像/殷光明

2 南北朝前期の仏教美術

中国式仏像の出現/岩井共二
北魏平城期の雲岡石窟/岡村秀典
北魏平城時代の山西における石造単独像について―如来像と重層塔を中心に齋藤龍一
龍門石窟北魏窟/久野美樹
四川で出土した南北朝時代の仏教石像をめぐって/肥田路美

3 南北朝後期の仏教美術

敦煌石窟西魏窟/田林啟
北朝鄴城の趙彭城北朝仏寺と北呉庄仏教造像坑出土像/朱岩石·何利群
東魏・北斉の響堂山と青州造像の比較研究/唐仲明
河北出土北朝期白玉像考/徐男英
小南海石窟の観経変について/大石克成
麦積山石窟造像研究―北周窟を中心として/八木春生
護法神信仰から見る南北朝時代中国仏教の一側面/大島幸代

4 仏教美術の周辺

道教の成立と初期道教美術/小幡みちる
山東省の石経/クラウディア·ヴェンツェル
水浴寺石窟における寄進と記念/ケイト·リングレト

Wednesday, June 7, 2017

Military Thought in Early China

Author:
Christopher C. Rand

Publication Date:
June 2017

Publisher:
SUNY




Abstract:

This study of the philosophy of war in early China examines the recurring debate, from antiquity through the Western Han period (202 BCE–8 CE), about how to achieve a proper balance between martial (wu 武) force and civil (wen 文) governance in the pursuit of a peaceful state. Rather than focusing solely on Sunzi’s Art of War and other military treatises from the Warring States era (ca. 475–221 BCE), Christopher C. Rand analyzes the evolution of this debate by examining a broad corpus of early Han and  pre-Han texts, including works uncovered in archeological excavations during recent decades. What emerges is a framework for understanding early China’s military philosophy as an ongoing negotiation between three major alternatives: militarism, compartmentalism, and syncretism. Military Thought in Early China offers a look into China’s historical experience with a perennial issue that is not only of continuing relevance to modern-day China but also pertinent to other world states seeking to sustain strong and harmonious societies.

Table of Contents:

Preface
Prologue

1. The Emergence of the Wen/Wu Problem

The Achievement of Balance
The Western Zhou Solution
Evolution in Chunqiu Times
New Solutions in the Zhanguo 戰國 Era
            Militarism
            Compartmentalism
            Syncretism
Conclusion

2. The Metaphysics of Generalship

The General as Sage
Psychical Power
Metaphysical Dynamics
The Ultimate Battle
Conclusion