Construction of the Genealogy of Eccentric Monks Based on the Historical Materials of Chan Buddhism in the Song Dynasty--From Enlightened Masters in Chan Buddhism,Sages,to Saints

Regarding the Chan Buddhism lamp records from the Song Dynasty and starting from Jing De Zhuan Deng Lu,the category of“enlightened masters in Chan Buddhism”禪門達者was listed separately,meaning a separate category was established for eccentric monks who pretended to be crazy,had unknown inheritance and miraculous deeds,and were difficult to classify.The following lamp records named this category of eccentric monks as“sages”散聖,or“saints”應化聖賢,which constructed another historical genealogy for the special Chan Buddhism eccentric monks.Moreover,the early lamp records included mostly idiosyncratic mad monks from previous dynasties.Since the Southern Song Dynasty,Chan Buddhism historical materials included many sages from the current dynasty.Therefore,this study mainly examines how the genealogy of Chan Buddhism eccentric monks was constructed in Song Dynasty Chan Buddhism lamp records,including quotations,and organizes the images of eccentric monks in the Song Dynasty,as written in Chan Buddhism historical materials,in order that the meaning of existence of these enlightened masters,sages,saints,etc.,included in the genealogy of Song Dynasty eccentric monks in the history of Chan Buddhism can be reflected.

A Preliminary Study on the Spherical Bombs(Huolei)of the Southern Song Dynasty,Unearthed in Chongqing

The military situation of the thirteenth century required that the Song and the Mongols construct a great number of defensive works,relying on the mountains or facing the rivers,in the mountainous Sichuan Province and Chongqing.In recent years,a special kind of explosive firearms,huolei火雷(bombs),was unearthed in the large-scale excavations of the site of Diaoyu Fortress钓鱼城in Hechuan District合川and the Baidicheng白帝城in Fengjie County奉节,both of which were defensive works constructed in this mountainous area during the Southern Song dynasty.In addition,the ruins of kilns and the clay molds that were relevant to the casting of iron huolei have been discovered at the site of Baidicheng,indicating that these huolei might have been produced locally.The Southern Song iron huolei unearthed in Chongqing are the most direct evidence of the evolvement of gunpowder and firearms,and are of great significance to the history of science and technology,in particular the history of military technology.

Artistic Features of Gardens in Southern Song Dynasty

Based on the discussion of gardens in song dynasty,the artistic characteristics of gardens in southern song dynasty are analyzed from the four perspectives of poetry and painting style,stone piling and water designing,architectural form and plant cultivation.The gardens of southern song dynasty embody the regional and cultural characteristics of Jiangnan.The aesthetic appreciation of gardens infl uenced by the style of poetry and painting highlights the artistic characteristics of false or true complement,soft and elegant,and tends to be popularized.Mountain stones are stacked into peaks and waters are designed according to local conditions.The architectural forms are strewn at random,exquisite and elegant.Landscape plants present varying sceneries with changing view-points,and naming echo with scenes to enhance the artistic value of landscape.It is hoped that the status of garden art of southern song dynasty in the history of Chinese classical gardens can be evaluated more scientifi cally and objectively through the research,and some reliable theoretical basis can be provided for modern garden design.

The“Emperor’s Edict”and the Emperor’s power in the Southern Song Dynasty

“Emperor’s Edict”refers to the writing of emperor himself.In the context of serving as official document,it refers to the special writ issued by emperor for sake of administering national affairs.In the official document system of Song Dynasty,“Emperor’s Edict”had always been an attention of the scholars and officials at that time due to its unusual functions in terms of drafting,promulgation and power.The Southern Song Dynasty was generally conceived by academic circles as a period when the“Administration by Emperor’s Edict”was gradually phased out.We did observe,however,with“Emperor’s Edict”placed in historical panorama of the early years of Southern Song Dynasty,an ever-strengthened power and prowess of“Emperor’s Edict”as backlit by several historical incidents such as Emperor Gaozong’s controlling and manipulating by“Emperor’s Edict”of the national armies.It reflects the political truth of strengthened imperial power in the Southern Song Dynasty.Hence,we can have access to another facet of the politics of the Southern Song Dynasty.

The Rediscovery of“Evocation”(Xing)and the Rise of“Poems Based on Evocation with Miscellaneous Themes”(Za-Xing)in the Resurgence Era of Southern Song Dynasty

The composition of group poems based on evocation with miscellaneous themes(za-xing)first emerged in the Tang Dynasty,pioneered by Du Fu and Chu Guangxi,but an extraordinary outburst of group poems based on evocation with miscellaneous themes emerged in the the resurgence era of Southern Song Dynasty.This phenomenon was not only influenced by new ideas in poetics and the studies of Confucian classics in the Southern Song Dynasty but also directly stemmed from the resistance against the poetic system represented by the Jiangxi poetry school.The group poems based on evocation with miscellaneous themes of poets such as Lu You,Yang Wanli,and Fan Chengda exhibit a tendency opposite to the Jiangxi poetic style in terms of their overall characteristics.The rise of evocation with miscellaneous themes poems in the poetic circle of the the resurgence era of Southern Song Dynasty holds significant importance in the history of Song poetry.It represents a rebellious and rule-breaking force that fundamentally protests against the various rules and boundaries established by Song poetics,marking a revolution in the norms of Song poetry.

A Study on Imitating Activities ,ofHanshan Poems by Chan Buddhist Monks in SONG Dynasty

Although we have no clear picture of the life of Hanshan, a legendary TANG monk and in Collected Poems of Hanshan （Hanshan Sho＇i）, we can find either unclear ideas regarding his major thoughts or different ideologies from Confucianism, Buddhism, and Daoism. Hanshan poetry was broadly read by people belonging to various social statuses during the SONG Dynasty. His poetry was also frequently cited in Chan Buddhist literature of the period. Furthermore, SONG Chan Buddhist monks invited Hanshan into their own genealogy and regarded him as a ＂San Sheng＂ （a Free Sage）. Many Chan Buddhist monks of the SONG Dynasty used Hanshan poetry in various Chan Buddhist texts. Numerous Chan Buddhist monks even wrote so-called ＂ni Hanshan shi＂, which imitated Hanshan poetry as a kind of personal literary creation. It is understandable that when a monk imitated Hanshan poetry, he would simultaneously be both the reader and the creator of Hanshan poetry, and as we understand that every writer produces their works through their own cultural outlook, a newly-formed correlation occurred naturally between the original poetry and imitated poetry through the SONG Chan Buddhist monk＇s version. By observing this correlation, this paper will deeply analyze the dissemination and acceptance of Hanshan poetry, within Chan Buddhist society in the SONG Dynasty, as based on Chan Buddhist literature, in order to learn more about image creation and the recreation of Hanshan during the period

Measurement of transient thickness between the body and graze layers of ancient porcelains using microprobe EDXRF technique

The oxide contents of TiO2, MnO, SrO and Fe2O3 in the body and graze layers of the Jiao-Tan-Xia (JTX) and Lao-Hu-Dong (LHD) porcelains in Southern Song Dynasty (1127-1279 A.D.) have been determined using an In- ternational Eagle-II μ-probe EDXRF spectrometer. The results show that the contents in the body are much different from those in the graze one. Therefore, the transient thickness (TT) between the body and graze layers can be meas- ured through determination of a distance of the drift change in the chemical contents. The TT average for the JTX porcelains is 161μm, while that for the LHD porcelains is 258μm, which are consistent with a range of 0.15-0.3mm in the Ru-Yao porcelains. The different TT is related to the variances in firing temperature and raw material for manu- facturing the respective porcelains.

清新妙绝:日本江户诗坛的宋诗接受——以七绝选本为中心的考察

江户后期诗坛,为了对抗蘐园古文辞派的因明学唐的伪唐诗,宋诗派领袖人物山本北山提出宋诗清新主张,并选定宋三大家诗歌作为清新诗风的代表。北山子山本绿阴、弟子大窪诗佛编选《宋三大家绝句》(1803),北山作序推广,风行日本,是为诗坛宋诗接受的标志性事件。由是带动了宋诗派另一领袖人物市河宽斋编选续编《三家妙绝》(1807),宽斋成名弟子大窪诗佛、菊池五山、柏木如亭作序跋推广。大窪诗佛、菊池五山更绍继其师,编选续续编《广三大家绝句》(1811),宽斋作序推广。连续编刊的三大家七绝,承载着清新性灵的宋诗学旨趣,矫正模拟剽窃的伪唐诗,推动了江户诗坛的宋诗兴盛。柏木如亭亦绍继乃师,编选《宋诗清绝》(1813)、《续宋诗清绝》(1846),将“清绝”作为了选本之名,选诗旨趣承袭北山、宽斋之清新,将选诗目光扩展到了三家之外的宋代七绝,但多选江湖诗人,选诗诗家增多,格局反趋卑狭。

“森列”与“饾饤”:南宋园林假山营造的两种类型及其结合发展

现有中国园林史研究已经认识到南宋是园林中石假山营造得到重要发展的时期,然而南宋园林假山营造的具体方式及其形态特点尚未得到有效探讨。在深入研读相关文献与图像的基础上,结合历史来源与后世影响,探讨南宋园林假山营造的类型及其发展。首先从“置”与“叠”2种基本方式出发,在历史语境中探讨“森列”与“饾饤”这2类南宋常见的假山营造类型及其来源与影响;进而关注二者在仿“飞来峰”营造中的结合与发展,从而更清晰地认识南宋,乃至其后的石假山营造。这一研究将对其后中国园林假山发展的认识,乃至当代假山特点的理解提供坚实的历史理论基础。

南宋和元代龙泉窑粉青瓷釉色比较研究

为了研究南宋与元代龙泉粉青瓷釉呈色机理,采用colorimeter,XRF,XRD,Raman spectrometer,XPS等对南宋和元代龙泉粉青瓷釉进行对比分析。结果表明,南宋粉青瓷L*值大于元代,而a*、b*值小于元代粉青瓷。南宋粉青瓷的烧成温度低于元代。龙泉粉青瓷乳浊如玉的质感主要是受釉层内小而密集气泡与大量石英晶体对光的影响所致。Fe2O3的化学色主导了龙泉青瓷的呈色,且南宋粉青瓷的Fe2+与Fe3+的比值高于元代粉青瓷,是南宋粉青瓷偏蓝而元代粉青瓷偏绿的主要原因。

南宋临安古都的历史还原

南宋建都临安,是杭州这座历史文化名城跃升为全国首都的里程碑,是浙江文化从外缘走向中心的转折点,是中国文化中心南北易位最终聚合江南的分界线,也是宋代文化继续繁荣再造高峰的动力源。然而由于战乱等原因,作为“七大古都”之一的南宋临安未能如北京、南京、西安、洛阳等有效保存古都空间景观,以皇城为核心的主体建筑荡然无存,这无疑是浙江也是中国文明发展史的重大缺憾。在当今长三角一体化的大战略中,以国际大都会上海为领雁,以古都南京与杭州为两翼,必将在建设全球第六大城市群中书写新的辉煌。鉴此,尤有必要从中国古都谱系的历史定位中提出和探索南宋古都复原与重建这一重要论题。

南宋沿海地区巡检与海患治理

巡检司是宋代为缉拿走私、平息基层变乱、维持地方治安而在各地增设的机构,其主管官的称谓很复杂,简称“巡检”。随着海外贸易的兴盛,南宋时期沿海地区各类走私猖獗,走私者分布广、规模大,海上盗贼势力空前强大,负责缉私与巡查盗贼的巡检数量随之增加。沿海巡检所统领的土兵是当时基层常备巡警力量,根据缉私对象、寇盗活动规模及其治理难易程度的不同,或与附近巡检寨兵联合行动,或配合水军等主力官兵及地方民防力量协同参与弹压行动,在近海海患治理中发挥重要的基础性作用。揭示南宋沿海各地巡检的布局特征,分析其职能变化,探讨巡检在当时海患治理机制中的地位和作用,对于深化和推进地方治理机制的相关研究有重要的意义。

朱子社仓与南宋乡村共同体的形成

随着宋代土地兼并造成的社会分化加剧,乡村贫富矛盾日益尖锐,这在南宋初年的乡村社会尤其明显。在生存竞争的压力下,各种单一共同体成为小群体的生存策略,建立在地缘基础上的乡村共同体反而受到削弱。在一些生存困难的地区,由常规性春荒引发的贫富对立就足以造成乡村共同体的分裂,更在饥荒期间造成乡村共同体的崩溃。为此,如何建立一种能够纾解民困、缓解贫富矛盾并修复乡村共同体的有效机制,成为南宋士大夫们尤其是理学家们重点思考的问题。朱熹的方案是:通过建立由士人领导的立足乡村的公益设施——社仓,构建一种利益平衡机制,贫民能够以较低代价获得所需口粮,乡里借贷利率也得以整体降低;富民尽管做出部分让步,并投入大量精力从事公益服务,但避免了社会崩溃带来的生命财产损失。在这一体系中,士人作为儒家传统的代言人为系统注入道德内聚性,公益服务与慈善活动增进了结构的精神属性。由此,一个在官方监督下的由士人领导的建立在乡里社会场域上的地缘共同体得以成立。这种模式尽管并非尽善尽美,但在应对乡村社会分化导致的地缘共同体分裂方面具有无可替代的作用,因而被后世所继承,这无疑是朱子社仓超越南宋时代的价值所在。

周必大对南宋国家治理的建言对策

南宋名臣周必大积极入世,官至丞相,其针对南宋国家存在的问题提出诸多建言对策。在人才问题上,他提倡不拘资序,平时做好人才储备,有需要时适才而用;在制度问题上,周必大针对科举发解试中的积弊和档案管理中的漏洞提出了改进建议和措施;周必大主张官员推行久任制度,同时革除荐举之弊;在国防问题上,周必大针对四川马政和两淮民兵提出了改进建议;在社会治理方面,周必大提出了疏与堵结合的对策,既要加强防范又要缓和矛盾。他对南宋国家治理的建言对策多能切中时弊。

宋韵传廉,继往开来——基于南宋廉洁文化的杭州特色廉洁文化教育路径探究

文化是一个国家、一个民族的灵魂,是人民的精神家园。宋韵文化是中华优秀传统文化的重要组成部分,根植于宋韵文化中的廉洁因子处处可见,并在历经千年后仍熠熠生辉。杭州作为南宋都城,宋代文化遗产颇丰,深入挖掘留存在城市和老百姓生活中的宋韵廉洁文化,将会给当代廉洁文化建设以新的启示。该文通过文献研究、实地调研和人物采访等方法,研究南宋清官廉吏身先示范的事迹、优秀家风家训蔚然成风的形式、珍贵文物遗产托物言志的呈现,从而实现继承宋韵廉洁文化精华,守正创新,并提出新时代具有杭州特色的廉洁教育路径,打造可观可感的文化品牌,实现润物无声的廉洁教育,充分发挥与时俱进的地区人文优势,将城市资源活化,以期宋韵传廉,继往开来。

南宋临安城的西湖治理与环湖造园

南宋园林是中国古典园林史上最重要的发展阶段之一,为明清江南园林走向成熟与巅峰奠定基础。而其更重要的贡献是大规模开启了中国古代城市生态营造的渊源,深刻影响了杭州的城市山水格局。研究综述了南宋临安城与西湖相辅相融的关系,梳理了西湖的整体治理和环湖园林的兴造,并举例真珠园、聚景园、大石佛院等园林展开复原研究。最后指出兴盛的造园和游园活动推动了社会文化的发展和产业经济的繁荣,也进一步影响了造园的审美取向、工艺技巧和城园体系,这是以往古典园林史研究时容易被忽视的内容。

史浩与南宋前期的政治体制

高宗内禅前后,南宋政局复杂多变。作为旧君为新朝布下的人事安排,为了延续高宗体制、修正秦桧弊政,史浩努力作出政治调适,以老成谋国的审重之心链接了高、孝两朝政治结构。他站在和战的立场,重提息兵养民、保全江浙根本之地的政治构想,他的圆融贯通而又不失纲纪的“中道”,对南宋前期的政治产生了深远影响。

南宋游艺文化及空间创新设计策略研究——以杭州“童趣宋坊”为例

“华夏文化造极于赵宋之世”。南宋延续北宋时期崇尚文治的思想,以程朱理学“格物致知”的主张分析事物本质,促进了文化繁荣昌盛。本文以南宋绘画中描绘的在庭院玩耍与游戏的孩童行为及其空间为研究对象,“以图证史”探究南宋游艺文化视野下古都临安的儿童游戏设施及空间特征,构建南宋韵味的杭州“童趣宋坊”展馆设计的创新思路,让当代孩子身临其境感受南宋游艺文化,以达到“活态”南宋游艺文化的目的。

南宋西湖昭庆寺研究与复原想象

杭州昭庆寺是中国古代寺庙建筑中的珍贵遗存,作为南宋时期佛教文化的重要载体,其蕴含着丰富的历史和艺术价值。借助于历史文献资料,梳理昭庆寺的兴衰变迁,结合建筑遗迹和实地勘察,建立起对昭庆寺在南宋时期的整体呈现。综合研究昭庆寺历史沿革、南宋时期建筑布局、植被景观以及园林活动等方面的重要性和独特之处,复原昭庆寺的建筑风貌和园林景观,揭示寺庙开放式空间为园林活动提供更多的可能性,以期推动南宋园林研究的深入发展,为今后类似文化遗产的保护与研究提供借鉴和参考,促进文化遗产的可持续发展。

从《西湖清趣图》看南宋园林中的勾连搭屋顶

收藏于美国弗瑞尔美术馆的《西湖清趣图》再现了南宋西湖边情景样貌,图中出现了大量的勾连搭屋顶建筑,建筑体量庞大,屋顶造型独特。为探究画中建筑虚实,复原想象南宋西湖园林真实样貌,从南宋园林概况着手,深入解读《西湖清趣图》,对画中勾连搭屋顶做了系统的研究与统计;通过平面转译,剖析宋画中近似屋顶建筑平面构成,推演此类屋顶形成与演变;比对历代画作中屋顶形象,进一步推测其产生年代;最后于实景照片、现存实例中查找,还原历史中勾连搭屋顶建筑的真实样貌。