A comprehensive study on the special symbols in the version of Zhouyi as inscribed on the bamboo slips held at the Shanghai museum = Shang bo chu zhu shu "Zhou yi" te shu fu hao yan jiu zong lun

2009 ◽  
Author(s):  
Ngar-see Poon
Early China ◽  
2005 ◽  
Vol 30 ◽  
pp. 1-24 ◽  
Author(s):  
Edward L. Shaughnessy

This study introduces a bamboo-strip manuscript of the Zhou Yi or Zhou Changes purchased by the Shanghai Museum in 1994. The fragmentary manuscript includes 58 strips, about one-third of the received text of the Zhou Yi. Orthographic features suggest that it was copied in the southern state of Chu about 300 B.C.E. Although the manuscript includes numerous orthographic variants vis-à-vis the received text, it does show that the text was stable by this date of copying. The most unusual feature of the manuscript is a pair of symbols written after the hexagram name and at the end of the hexagram text. Although several explanations of these symbols have been advanced, none of them appears to be convincing to date. A final question about the manuscript concerns the sequence of hexagrams in it. Since the binding straps of the manuscript had already decayed and the strips become disordered, and since each hexagram text begins on a new bamboo strip, no sequence is apparent. However, the physical circumstances of the strips, especially the points at which they are broken, may suggest that the sequence was more or less similar to that of the received Zhou Yi.


2019 ◽  
Vol 46 (3-4) ◽  
pp. 182-190
Author(s):  
Sixin Ding

“Huo” 或 in “Heng Xian” 恆先 of the Chu bamboo slips in the Shanghai Museum is a significant concept in cosmology and cosmogony. “Huo,” as a cosmogonic period, is after “heng” 恆 (the permanent), but prior to qi 氣 (material force), hence it is relatively important. This term in the manuscript is used as an indefinite pronoun, meaning “something”, rather than “exist” (as a verb), “indefinitely/ maybe” (as an adverb) or “a state between being and nothingness”. However, in the cosmogonic sequence, it is indeed intermediate between nothingness (“heng xian”, the permanent beginning) and being (qi, or you 有, being/to be). That “huo,” as an indefinite pronoun, can be used as a philosophical concept is testified by “Bai Xin” 白心(Purifying the Heart-mind) in the Book of Guanzi 管子 and “Ze yang” 則陽 in the Book of Zhuangzi, in which the term “huo” also means “something.” “Heng Xian” uses an indefinite pronoun “huo” to refer to a stage in the genesis of the cosmos. This shows, on the one hand, that its author has contemplated cosmology more profoundly; on the other hand, it shows that the author’s knowledge about the structure of cosmogony has not yet been fully developed. Moreover, the concepts “huo” and “heng xian” both develop the notion implicit in the concept of “heng.”


2019 ◽  
Vol 82 (3) ◽  
pp. 473-492
Author(s):  
Rens Krijgsman ◽  
Paul Nicholas Vogt

AbstractThe manuscript carrying the title Zhuangwang ji Cheng 莊王既成, from the Shanghai Museum corpus of bamboo slips, bears two related anecdotes concerning the early Chinese monarch King Zhuang of Chu. In this article, we translate both stories and offer interpretations of them both as individual texts and as a composite narrative, situating both readings in a context of intertextual references based on shared cultural memory. Approaching the anecdotes together, we argue, generates an additional layer of meaning, yielding both a deep sense of dramatic irony and a critique of the value of foreknowledge – and, by extension, of the explanatory value of historiography. In detailing how this layer of meaning is generated, we explore the range of reading experiences and approaches to understanding the past enabled by combining separate but related textual units, a prevalent mode of composition and consumption in the manuscript culture of Warring States China.


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