巴渠文化是巴文化的构成部分,巴渠文化对川渝绘画的风格特征有重要的影响,它是生成川渝绘画品性的源泉.巴人精神是川渝绘画的思想灵魂.川渝绘画生动地呈现了巴渠文化的多元性,并通过视觉形象实现对巴渠文化的传承和创新,丰富了巴渠文化的表现形式.
宋代海上丝绸之路进入空前繁盛时期,关于海上丝绸之路和沿线国家的记录文本前所未有地丰富,大略可分为官方文本、半官方文本和民间文本三类,分别呈现了"覃声教于四海"的形象建构、"宽民力而助国用"的商业理性、殊方异域书写的文学想象.这些海丝文本虽然作者背景不同、撰写的角度相异,也略显琐碎,但仍将当时的社会文化心态以整体面貌体现,凸显了极强的倾向性特点,揭橥了宋人在长期中外交往中蕴育而成的价值观念、审美情趣和思维方式.
唐初敕命编撰《五经正义》,建立起以"五经"为主的经典诠释系统.在此诠释系统中,经典及注疏引《诗》集中表现出三大特征,一是经文引《诗》反映了《诗经》的社会功能及诗教;二是经注引《诗》反映了诗礼互证的紧密关系;三是唐代注疏对经文、经注引《诗》加以诠释,反映出唐初诗经学宗毛、崇礼、重在诗教的学术倾向.这部分《诗经》诠释有着广泛而深刻的社会传播,对于研究唐代诗经学的发展与流传具有独到的学术价值.
刘咸炘《医喻》《左右》《同异》《流风》是一组分析中国儒学发展得失的文章.这一组文章是在横观偏正,纵究源流,站在明统知类,建中立极,综贯老子、孔子的学术宗旨的基础之上,拯救中国学术各趋极端,往而不返而开出的一剂药方.刘咸炘整合老、孔,发展与提升了儒学发展现代转型的新境界.他期待中国儒学史从非左即右、往而不返、争斗不息、别有所图的邪路上回归老子、孔子的太古之道.刘咸炘坚守先秦儒学的中观理想,对中国真正的自本自根的中国文化具有坚定的信仰.刘咸炘认为,异中有同,同中有异,包荒含弘,任天圆道,返本开新,才是中国儒学光明的未来.
清末民初,学堂乐歌随着维新思想、民主革命思想而传播,与中国社会封建体制向近代民主主义体制的转折相连,它作为一种新型音乐文化产物出现,在新文化发展背景下的学堂中广泛传播.学堂乐歌作为近代音乐文化转型的代表,其诞生与发展是被儒家思想传承和影响的,学堂乐歌推动了中国近现代音乐文化发展,在乐歌的歌曲内容、表达形式和社会功能等方面,实现了传统音乐的创造性转化.
随着一个世纪以来美国汉学家元杂剧研究的逐步深入,元杂剧典故的解读和翻译成为美国学者元杂剧艺术审美研究的重要内容.美国汉学家通过对元杂剧剧本的解释性翻译和文化空白点注释来体现对元杂剧的文化点审美接受.美国元杂剧研究中的文化解读偏误主要表现在对中国历史文化知识储备不足造成的误读、元杂剧文化点解读不足、典故的过度解读和借古喻今艺术创作手法的误读等方面.积极发现和正视这些偏误并及时以学术对话的方式进行商榷和纠偏将推进元杂剧研究的国际交流.
肃南大长岭墓葬为隋唐时期的少数民族墓葬.由于墓葬清理时未发现墓碑和墓志,而该墓呈现出吐蕃、吐谷浑、突厥和汉族等多民族文化特征,所以学界对该墓葬的民族属性一直众说纷纭,形成"吐蕃说"和"突厥说"等多种观点.唐代的肃南一带为吐蕃、吐谷浑聚居区,非突厥文化流行区,但墓葬所出文物很多具有明显突厥文化因素,尤其墓内所出八把刀有可能代表西突厥的八姓;十支箭可能代表西突厥的十部,故而推测墓主有可能为逃至河西走廊吐谷浑聚居区的西突厥首领.综观突厥汗国历史,最符合这一条件的是西突厥可汗阿史那馁子,此人长期与吐蕃联手袭扰唐朝,被吐蕃册封为掌管西突厥十部的"十姓可汗",与唐朝所册封的突厥"兴昔亡可汗"相颉颃.700年,阿史那俀子袭扰碎叶,失败后不知所终,最有可能的去处就是投奔吐蕃,寄籍吐谷浑,卒后由当地深受吐蕃与汉文化影响的吐谷浑人瘗埋.殉葬品规格很高,却被草草瘗埋,且周边没有陪葬墓,墓道面向东方,这些条件特别符合流亡君主的身份.
大禹文化见证了中国各民族共同缔造文明的历史进程,是赓续铸牢中华民族命运共同体意识的思想升华.大禹文化精神是中华民族观念形成、民族自强求变、民族文化认同的精神依托.将大禹文化精神同马克思主义理论相融合,进一步增强大禹文化的传播力、影响力,提升大禹文化的凝聚力、引领力,是当前丰富中华民族共同体意识理论的重要途径,对推进中国式现代化建设具有重要意义.
唐朝军事实力猛增,政治、经济上的强盛和富庶,国际影响力与号召力的持续增强,推动了中华民族共同体意识的快速形成.这一时期最鲜明的特点就是胡汉民族之间的高度交流与融合的新发展,唐朝的胡汉融合,所涉及民族的范围、地域的广度及融合的深度都是空前的,这也是中华民族共同体进一步发展和巩固的关键历史时期.期间虽然也有类似"安史之乱"一类的反复和曲折,但总体上,这一时期胡汉融合的趋势和方向是鲜明的,其发展进程有巨大的历史和现实意义,是中华民族共同体意识发展和巩固的关键历史时期.
水路交通网络的形成总是从点——线——面的拓展开始.到航运交通发展到一定程度的时候,水路交通网络在面上的拓展趋于饱和,转而开始寻求水路运输的更高效率.此时的水路交通网络则开始分化出不同的交通层级以优化交通效率.以近代川江水路交通网络为例,其就分化出分别以乡镇场市、商业城镇、商埠城市为主要节点的三个不同层级的水路交通网络.也正是川江水路交通网络层级的形成,使得川江航运中追求航运可达性和航运效率的矛盾得以缓和.川江水路交通网络的三个层级也与川江流域中市场的层级相契合,并且经济越发达的地区其交通网络的层级越为明显.
早期文本的"记言"是以《左传》为分水岭.殷周时期,以甲骨卜辞及《尚书》为代表的"记言"内容,延续的是一种宏大叙事与神圣书写传统,主要表现为一种人与神的对话模式,其言说主体具有无上的崇高性,是神性与权威性的结合.春秋时期,以《左传》为代表的"记言"内容不再是对神谕的遵循以及民族重大事件的记载,而是转向关注人的生活与德行,记录个体的言论,呈现鲜活的个体生命.由此,早期文本的叙述中心从天上的神灵转入人间的礼法,从神的意志转向人的意志,从宏大叙事转向个体书写.
清初政府的文化政策具有"刚柔相济"的两重性.一方面"崇儒重道",开经筵、兴科举、刻图书;另一方面大兴文字狱.出版政策是文化政策的重要组成部分,地方志是图书出版的重要门类.柔性文化政策如发布诏令提倡地方志的编修,促进了清初地方志的繁荣,刚性政策如文字狱抑制阻碍了地方志的发展.但也存在例外情况,清初大兴文字狱的背景下,部分载有涉明"违碍"内容的地方志出版并未受波及.这一情况表明"文字狱"实施过程中,同样具有"刚柔相济"的二重性.
朱谦之的音乐文学史观"一个时代有一个时代的音乐文学"与王国维的文学史观"一代有一代之文学"一脉相承,都承袭自焦循的"一代有一代之所胜"文学发展思想.以此观点看当代流行音乐,其发展方向正是今天的"一代之所胜".目前流行音乐尚有爱情主题比重过高、谱曲可歌离谱可赏性不强、环境负面影响过多等缺陷,如能发挥民族一脉和通俗一脉的互补优势,扩大主题关注,顺应时代潮流,结合新诗创作,将有望成为本时代真正的音乐文学代表.
本文从设计学角度出发,结合研究现状和实地调研界定了嘉绒藏族传统村寨景观相关概念,分析了其生态性、地域性、文化性、适应性等基本特征,导入复杂适应系统(CAS)理论,梳理了其系统框架,并以丹巴县克格依村为例,阐述了嘉绒藏族传统村寨景观复杂适应性.嘉绒藏族传统村寨景观是一种特殊文化景观,其景观系统存在复杂适应性.充分认识嘉绒藏族传统村寨景观构成要素,讨论嘉绒藏族传统村寨景观系统的复杂适应性及其演化规律,对提出该地景观设计策略提供有效指导以及恢复传统村寨景观原生性和完整性有着重要意义.
Wu Zetian was evaluated as one of the Favored in the context of Neo-Confucianism during the Song Dynasty,which is the result of the influence of ethical concepts on political notions.With the ethical cognition of"male superiority and female inferiority"of neo-Confucians,it’s difficult to comment on Wu Zetian’s political merits,and her"extraordinary revolution"is explained as a deviate action.Evaluations such as the so-called"Fierce Woman vs Fatuous Monarch"do not mean to appraise Wu’s personal talent but just the impertinent criticisms of literati and officialdom when they maintained the legitimacy of imperial power.The way of"writing by Using the past to criticize the present"contains deep commendation and derogation to evaluate Wu Zetian,and reflects the value orientation of neoConfucians who illustrated the classics by using Principle as Order to apprehend the legitimacy of imperial power.The evaluation of Wu Zetian by neo-Confucians is a kind of political intention of the solidified traditional consciousness,and even is a subjective effort to shape political ethics.These evaluations formed the concepts which had an important impact on the writing and dissemination of Wu Zetian’s historical image in later generations.
Since the 90s of the 20th century, the studies on the Ⅰ Ching in American academic circle of Sinology has gradually emerged a shift in interpretating from "jing（the Book of Spring ＆ Autumn edited by Confucius）" to "zhuan（the Ⅰnterpretation of Confucius’ Book of Spring ＆ Autumn given by Zuo Qiuming）", and researchers are no longer committed to translating and interpreting the "true meaning" or "inner meaning" of the Ⅰ Ching, but turn to the commentaries and annotations of Ⅰ Ching from all generations. They think that there is no singular definitive version of the interpretation of the Ⅰ Ching, but as many different versions of the Ⅰ Ching as there are commentaries and annotations, and advocate understanding and interpreting the Ⅰ Ching from a historical perspective and from the viewpoints of commentators, which reflects the intellectual historical turn of the interpretation of the Ⅰ Ching in the American sinology academic circle, and the representative figures mainly include Su Dekai（Kidder Smith）, Ai Zhousi（Joseph A. Adler）, Lin Lizhang（Richard John Lynn）, He Maokang（Michael Harrington） and others. This turn in intellectual history takes place against the backdrop of a paradigm shift in Chinese historical research in the United States from "Western-centralism" to "Chinese-centralism," and simultaneously it’s a challenge and rebellion against the long-established view of the Ⅰ Ching as " a book of wisdom" of Wei-Bei’s（Richard Wilhelm ＆ Debra A. Hayes） translation. The translations of the Ⅰ Ching ＆ the annotations that emphasis on taking "China as the center" help people to recognize the complex nature of the Ⅰ Ching and dynamically grasp the connotations and characteristics of Chinese thought, but in concrete practice, there are still existing difficulties and contradictions such as how to have "empathy for understanding" for the theories of the ancient scholars and how to distinguish the differences between the classical texts themselves and the comprehension of the commentators when translating. From the perspective of academic research, the turn in intellectual history of the interpretation of the Ⅰ Ching in America has positive significance. However, on the side of the dissemination of the Ⅰ Ching overseas, the civilian direction represented by the Wei-Bei translation（translated by Richard Wilhelm ＆ Debra A. Hayes） still has irreplaceable and important value.
The inscription and publication of Guo Yu in the Qing Dynasty was not as prosperous as the Ming Dynasty, but Huang Pilie contributed greatly to the dissemination of Guo Yu-the edition in Mingdao Years of the Northern Song Dynasty. With the background of the studies on Guo Yu in the Qing Dynasty, scholars achieved high-level academic achievements in the academic history combing, version proofreading, textual criticism and exegesis, compilating old annotations, literary commenting, etc., and their research results of Guo Yu not only promoted the basic researching pattern of Guo Yu in the future, but also spread overseas, and even had a far-reaching impact on the study of Guo Yu in the late Edo period in Japan.
Heaven and Earth are at Peace ＆ all Creatures are in Harmony-the spirit of the Harmonic culture shows that Chinese pursue peace, harmony and amity from ancient to modern times, and affects in the formation of the belief of "the Two Immortals-He ＆ He" among the people in folk society. The Two Immortals-He ＆ He has been widely revered among Chinese people since ancient times, and the clan is huge: one of the reasons is the extensive belief of Wanhui in the Song Dynasty; the other is the deification of the two monks-Hanshan and Shide; one more another is the Immortals of He ＆ He that only existed in a certain place, such as Madame Xian and her husband Fengbao in Lingnan areas, Luyao and Mali in the Immortals-He ＆ He Treasure Scroll; the last one is the He ＆ He Immortal Generals in myths and legends and Taoism literature. The connotation of this belief varies with different immortals’ identities, some are in charge of family reunion, some control a happy marriage, others are concerned with wealth and prosperity. Since Emperor Yongzheng canonized Hanshan and Shide as the two Immortals-He ＆ He, the Harmonic Immortals have been officially recognized and set at one statue. In these four types of Harmonic Immortals, although their identities are complex and diverse, all of them can be switched back and forth between the sacred and the mundane, and finally were elevated from folk supernatural-beings to official immortals.
The Neolithic Cultural Circle in the Middle Reaches of the Jinsha River refers to the collective name of the late Neolithic cultural remains distributed in the areas which are along the north and south banks of the middle reaches of the Jinsha River, 4500-3700 years ago, 3000-1000 meters above sea level and exist similar cultural connotations and era characteristics. In these places the cultural heterogeneity, compositeness and diversity are prominent, which is very different from the connotation of the surrounding areas in the late Neolithic culture in the same period. The distribution range of this cultural circle is mainly concentrated in the middle reaches of the Jinsha River and the surrounding areas in the middle section of Hengduan Mountainous Area, and the influenced sphere extends to the middle reaches of the Dadu River in the north; in the south, to the northern part of the Yuan River; in the east, to the end of the middle reaches of the Jinsha River, and in the west, to the middle and lower reaches of the Lancang River, and with the middle reaches of the Jinsha River being the most concentrated. The Neolithic Cultural Circle in the Middle Reaches of the Jinsha River reflects the frequent cultural interaction and cultural identity among the late Neolithic inhabitants in the basin, and lays a prehistoric foundation for the group-interaction and cultural interaction of the local residents in the Bronze Age.
The image of a city is the cognition and valuation to the embodiment of the city that people construct. Since the founding of Tianjin city in the Ming Dynasty, the image of Tianjin has contained "Surpassing Huaian City", "Small Jiangnan（regions south of the Yangtze River）" and "Small Yangzhou" and so on. Among which, because of many similarities between Tianjin and Yangzhou, Tianjin is the most extensively called as "Small Yangzhou". During the Republic of China, although "Small Yangzhou" was obviously inconsistent with Tianjin, it was still used as an elegant name for Tianjin. Since the opening of the port, Tianjin has transformed from tradition to modernity, and its development is very similar to Shanghai, and new city images such as "Northern Shanghai" and "Small Shanghai" have been born. The change of Tianjin’s image from "Small Yangzhou" to "Northern Shanghai" reflects the hard urban development of Tianjin. The appellations of "Small Yangzhou" and "Northern Shanghai" reflect the recognition of the characteristics and development patterns of Tianjin in different historical stages. Tianjin in modern times has always taken Shanghai as the benchmark, and Tianjin’s current and future development still needs to learn from Shanghai and reshape the city image of Tianjin as "Northern Shanghai".
