scholarly journals 宋人詠寫王荊公之主題形象與修辭探論

2019 ◽  
Vol 34 (34) ◽  
pp. 065-098
Author(s):  
鍾志偉 鍾志偉

<p>歷代評價王荊公,兼有毀譽,尤以史傳、筆記、小說最多,建構起荊公立體形象。然而,詩歌亦屬王荊公故事詠寫系統主要體裁之一,至今無專文探討。本文借用詠史懷古詩之研究方法,觀察詩人對荊公之人物論定,回到形象聚訟之始,勾勒宋詩中之荊公形象與主體。可以發現詩中呈現宰相忠業及宋亡罪人之迥異面向。其次,歸納分析詠寫荊公之慣用素材與主題思想,如營造挽歌氛圍與世態炎涼之感慨;速寫讀書堂與嘲弄新學;關注書畫題詠與追慕風神等,最後探討宋人詠寫荊公之詩學設計,一則見詩人慣以一多對立及時空伸縮為篇章構思,有助興發感慨;二則融入荊公詩字句,翻新原典,借彼抒己。總此,讓荊公形象顯影在宋詩上,為荊公之歷史評騭提供初始依據。</p> <p>&nbsp;</p><p>The evaluations of past generations on Sir Wang Jing, mostly in historical biographies, jottings, and short stories, lead to both positive and negative comments and have established a three-dimensional image of Sir Jing. However, there is yet no monograph on poetry, which is also one of the important genres in the writing system of stories about Sir Wang Jing. This article attempts to explore the discussions of figures in history-themed poems and to return to the beginning of the arguments on Sir Jing&rsquo;s image and depict the image of him portrayed in Song poems. First, it discovers the polarized identity, as a prime minister with loyalty or a guilty person causing the ruin of the Song dynasty. Second, it organizes and analyzes the common materials and theme thoughts in writings about Sir Jing, such as creating atmosphere of elegies around tombs and shrines and fickleness of the world, sketching the reading hall and mocking new learning, and paying attention to inscriptions of calligraphic works and paintings and admiration for the past manner. Finally, it probes into the rhetoric of Song people&rsquo;s writings about Sir Jing. For example, the structure design of opposition between one and many and expansion and contraction of time-space helps to highlight the effect of sighs with emotions. To give another example, the adjusted use of the words of Sir Jing&rsquo;s poems adds new meanings to their original meanings. To sum up, this article exhibits vividly on paper the Sir Jing in Song poems and provides a reference for studies on the image of Sir Wang Jing shaped by history.</p> <p>&nbsp;</p>

Author(s):  
Ekaterina V. Vasil’eva ◽  
◽  
Yi. Bu ◽  

The comparison of various artistic phenomena, which are separated geographically and chronologically, is a complicated analytical precedent. The matching requires stable criteria, and a distance (spatial, temporal, cultural or artistic) makes the difficulties to the formulation of analytical principles. Different historical epochs form their own independent systems, which do not always imply the possibility of the direct comparison. At the same time, such juxtaposition gives possibility to identify common pictorial and ideological principles of artistic structures, which don’t have the strict identical forms. The comparison of separated artistic phenomena allows to determine the common platform of culture and to discover the integral principle of various artistic systems. This article is devoted to the comparing of two independent art systems. The Chinese Ru ware pottery of the Song dynasty and the international minimalism of the 1960s and 1980s are distanced one from another both territorially and chronologically. At the same time, they are close artistic systems, where the unifying factor is the idea and the sense of form. Within the framework of the article, the very possibility of comparing different artistic systems is considered. The text examines the possible criteria of such comparison. It raises the questions on the principles of the artistic relations. The starting point of the work is the specification of the basic characteristics for the Ru ware pottery and the determination of the basic principles of international minimalism of the 1960s and 1980s. The article examines the specific features and peculiarities of Ru ware pottery, which, despite its popularity, is not enough studied in the Russian analytical space. Besides, the text indicates the specific features of European and American minimalism. This direction also presents material for systematic study. One of the main tasks for this work is the presentation of key parameters related to the form elements of Ru ware pottery and the description of conceptual components related to the international minimalism. Comparing these two systems, authors refer to the basic categories of European theory of art, which appearance is associated with the names of Wilhelm Vorringer and Henry Welflin. The main criteria that allows to compare these artistic trends is «the sense of form» - the concept that was determined in German art-theory in the first half of the XXth century. The use of this categories and the discovery of the concept of the sense of form, allows to show a parallel between the principles of Ru ware pottery and the system of international minimalism of the second half of the XXth century.


Author(s):  
Guobin CHENG

LANGUAGE NOTE | Document text in Chinese; abstract also in English.在中國古典知識論當中,醫學(以及所有的技藝之學)與先王之法、諸子之藝本為一體,後世所謂“醫儒相通”、“醫易相通”之說源起於此。但知識論上的共同起源並不能保證醫學在歷史流變中能夠保持其地位,經過春秋時期諸子興起、學術分裂,和《漢書.藝文志》對古典知識體系進行的分類排列,醫學的知識論地位及醫者的社會地位便一路下行,諸子,尤其是儒學與技藝之學的高下、先後、體用次第關係逐漸被固定下來。到宋代援儒入醫,以“仁術”統攝之,在某種意義上進一步貶低了醫學作為技藝之學這一維度,將其落實為幫助儒家實現“仁”之價值目標的工具。經過這一知識論分裂和儒學反身侵入的知識學改造,醫學知識內部的“目的之善”與“技藝之善”的割裂也隨之加劇,再也不能回歸到原始醫家熔融自在的自然純樸狀態。所以,想要超越今天西方因為天人二分、醫學技術與道德分離等問題而形成的倫理難題與道德困境,建構一種有效的“中國醫學倫理學”,恐怕不能用“天人合一”、“醫儒相通”等大而化之的概念輕易穿越,還有大量艱苦的工作需要一步步的來完成。This essay offers a genealogy of medical epistemology in ancient China, which, unfortunately, lost its independent status after the Song Dynasty, when Confucian morality became the dominant discourse in all disciplines, including medicine. The author challenges the common view held by Confucian scholars that medicine does not constitute a self-contained domain of activity with its own morality and ethics, because it is seen as a realm of “applied ethics.” This view makes medicine, medical techniques, and medical ethics instruments for the embodiment and actualization of the Confucian virtue of benevolence (ren), but undermines the complexity of medicine and medical practice.It is concluded that the moralization of medicine can be a dangerous practice. It is equally dangerous when ancient Chinese ideas such as “the unity of heaven and humanity” (tianren heyi) and “mutual identification between medicine and Confucianism” (yiru xiangtong) are used to explain and resolve contemporary problems without qualification.DOWNLOAD HISTORY | This article has been downloaded 557 times in Digital Commons before migrating into this platform.


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