The Implantation and Transmission of Plague Culture by the Five Plague Gods in Shuilu Murals

The Five Plague Gods(五瘟神) in the Shuilu(水陆) murals from the Ming and Qing dynasties exemplify a distinctive manifestation of plague gods image developed under the pedigree of Taoist gods.As a significant system for expelling disasters in Shuilu,the depiction of the Five Plague Gods prominently merges human beings and livestock.This shape form to a large extent,draws on the image of Nuo(傩),a figure reflecting an imagination of the host of plague pathogens.In terms of the numbers of gods,it aligns with the conceptual framework of Wu Xing(五行 the five elements),a foundational principle in traditional Chinese medicine.The internal cultural connection highlights the means of plague prevention and control in China,as well as the external reflection of plague culture.Through multi-dimensional interpretations with the double proof method,this article dissects the formation,core elements,and cultural characteristics of the beliefs in the Five Plague Gods reflected in the Shuilu murals,and transcends mere visual semantics,offering a deeper understanding of these complex cultural symbols.

From Ancient Rituals to Modern Spirituality:The Evolution and Personalization of Religious Experience

This paper explores the evolution of religious experience from ancient nature worship and ancestor reverence to modern individualized spirituality.It examines how early spiritual practices were deeply intertwined with daily life,later becoming institutionalized through formalized religions with complex rituals and doctrines.The rise of mysticism,emphasizing personal connections with the divine,persisted alongside institutional religions.In contemporary society,the shift towards"spiritual but not religious"reflects a return to personalized spiritual paths,driven by individualism and the desire for direct,meaningful spiritual experiences.This trend's implications for both individuals and society are also discussed.

Discussion on Agricultural Religion in the Pre-Qin Period of China

Since ancient times,agricultural religion has been infiltrated into all aspects of economic,political and social life in China. Using rich historical data such as archeology,anthropology and ethnology,this paper discussed the historical process of agricultural religion in the pre-Qin period from animal worship to agricultural worship. It also discussed the agricultural objects,land,celestial nature,and labor ghosts.Finally,it revealed the inevitable trend of combination of social sacrificing activities.

The Logic of Incarnation： Hegel＇s Use of Plato＇s Philebus in the Shorter Logic and in the Lectures on the Philosophy of Religion

Hegel uses Plato＇s classical text, Philebus, in two of his most important texts, the so called Shorter Logics, the first part of the famous Encyclopedia of Philosophical Sciences and in The Lectures on the Philosophy of Religion. The aim of this article is to analyze how can this two references be read together as to form a relationship between logic and religion in the very heart of Hegelian philosophy. In the first case, Hegel analyzes Plato＇s text within the context of his Doctrine of Being, specially from §§ 89 to 95, which deal with the question of determinate being. In The Lectures on the Philosophy of Religion, on the other hand, the reference appears in the 1824 Lectures in a particularly complex chapter called ＂The Transition to the Speculative Standpoint of Religion,＂ in which Hegel affirms not only that such a speculative standpoint is the only one in which religion can be truly grasped, but also that the Christian concept of ＂incarnation of God＂ is the ＂speculative midpoint＂ of religion. It will be argued, therefore, that the ontological question of determination and actuality, as exposed in the Shorter Logics, is fundamental to the metaphysics of Christian Religion as Hegel understands it not only in his Philosophy of Religion, but arguably in his whole philosophy.

The Benefit of a Punitive God： The Story of Ananias and Sapphira

In this narrative, we explore the story of Ananias and Sapphira from the book of Acts in the Christian scriptures. We examine the story in the light of a recent hook by Dominic Johnson （2016）, God Is Watching You, and other related research. The idea of a punitive God and/or the belief in a punitive God may have significant effects on group functioning. The troubling story of Ananias and Sapphira may be seen as a central cog in the cooperative coming together of what became the Christian Church. In our modem world, a punitive God is an idea we seek to avoid but it may be the one that is essential for a peaceful cooperative world.

Anti-Confucianism:The Formation Process and the Ideology Essence of the Cultural Policy of the Taiping Heavenly Kingdom

The“anti-Confucianism”constituted the main feature of the cultural policy of the Taiping Rebellion.However,the anti-Confucianism movement of the Taiping Rebellion was mainly in form rather than in content,and mainly in action rather than in thought,which manifested itself in a policy of banning and destroying the physical forms of Confucian memorial tablets,Confucian temples,and Confucian classics.The core elements of Confucianism were all inherited and retained by Hong Xiuquan,who was committed to subverting Confucius’position as the cultural authority of Chinese society,so Confucianism,together with Christian thought and folk religious thought,constituted the main source of the ideology of the Taiping Rebellion.It was the influence of Confucianism and folk religious thought on Hong Xiuquan that gave the idea of worshipping God a localized character and made a new type of religion that combined Chinese and Western elements.The“anti-Confucianism”was mostly based on an irrational political movement,and the Taiping Rebellion never criticized the doctrine of Confucius and Mencius from a theoretical point of view.Thus the political submission of civil society to the Taiping Rebellion hardly rose to the level of political identification.Cultural antipathy,to some extent,led to the eventual defeat of the Taiping Heavenly Kingdom.

The Parable of the Three Rings

Which is the true religion？ In the Middle Ages, the parable of the three rings, in all its versions, is a subtle answer to this question, which uses a persuasive allegory. The allegory of the three rings refers to a previous allegory, represented by three gems, one real and two fakes. The religion of the philosophers was born from the hidden meaning of the same allegory： universalism, brotherhood of men as children of the one and only God, the transcendence of a single God that cannot be reduced to any particular representation, and love for one＇s neighbors. The three sons who receive the inheritance of the ring, given by their father, are all loved by him and all three receive a gem that could be the real one. The similarity of the position of the three sons is equivalent to the moral element shared by the three religions： All those who believe in God and his justice put into practice the fundamental teachings of the philosophers. The meaning of the allegory is evident： None of the three sons can claim with certainty the possession of the real ring, but precisely because of this their faith can remain clear, removed from the temptation of pursuing someone because of that person＇s religion.

Artistic Characteristics of Zhijiao Three-religion-hall Architecture

Three religions combined worship was an important spiritual belief in ancient China,which has become a common practice in the Ming and Qing Dynasties.Three religions combined worship refers to offering sacrifices to the ancestors of Confucianism,Buddhism and Taoism in the same temple,and such temples are called three-religion-hall.Zhijiao Three-religion-hall was built in the 15^(th) year of Jiajing in the Ming Dynasty.After many repairs and expansion,it finally became today’s pattern.Based on the culture of three religions combined worship,taking Zhijiao Three-religion-hall as research object,location,spatial characteristics and architectural decoration of Zhijiao Three-religion-hall are analyzed,and architectural art value of Zhijiao Three-religion-hall is expounded.

Origin of Fengshui Woods and Its Enlightenment to Modern Society

Origin of Fengshui Woods was studied, 3 representative standpoints (Fengshui doctrines, greening and worship of the god of land) about Fengshui woods were analyzed, and worship of the god of land was believed as a reasonable origin view through considering natural and social factors of ancient China, as well as universal mental characteristics of people in the prescience age. To identify advantages and disadvantages of these 3 views, Carl G. Jung' theory of mythological prototype criticism and Sir James George Frazer's anthropological study were borrowed to prove that Fengshui Woods originated from ancient Chinese worship of the god of land, and such worship gradually evolved into practices of planting Fengshui Woods for their propitious signs. On this basis, enlightenment of Fengshui Woods to modern society was disclosed to protect present Fengshui Woods and forest resources.

《文心雕龙·祝盟》篇中“靡神不至”之辨析

春秋时期是祝文这一文体发展的转折时期。刘勰在《文心雕龙·祝盟》篇中用“靡神不至”概括春秋祝文的情况,并提出“降神务实,修辞立诚,在于无愧”“必诚以敬”“宜恭且哀”等写作要求。对于不符合要求的“靡神不至”祝文,刘勰予以了批评,体现出他保守的祝文文体观。然而,祝文的“靡神不至”现象,恰恰体现了祝文从神圣化发展到世俗化是一种必然的趋势,且有积极的意义,应当予以肯定。

莱州东海神庙的初创及唐宋时期祭祀

莱州东海神庙为我国历代封建帝王祭祀东海之地,在山东地区与泰山岱庙盛名并称天下。关于莱州东海神庙建于何时、为何建于莱州目前还没有统一的认识。莱州东海神庙应是古代海祠、海庙祭祀制度形成过程中的产物,最早可追溯到汉代的海水祠。现今东海神庙遗址上建庙的确切年代或可早至唐宋时期。唐宋时期莱州海庙祭祀活动偶有发生,相关祭祀礼制和祭祀文化为后世莱州东海神庙国家祭祀行为奠定了基础。

福建大圣信俗文化研究回顾与展望

大圣信俗文化是福建民间猴神信仰及其相关民俗文化意象的总和。随着海内外学者的不断挖掘,学界在福建大圣信俗源流、仪式活动、区域信俗、文学艺术、现代转型与价值等方面的研究取得了丰硕成果。对这些研究成果作梳理,在肯定学界在该领域取得重要进展的前提下,对其仍存在的文献考述不够、区域研究不平衡、发掘程度不深等不足之处进行反思与展望,有助于从宏观的角度来把握福建大圣信俗文化研究的价值与意义。

中华先民虎神崇拜历史动因考

虎属哺乳纲猫科,乃百兽之王,并被中华先民不断演绎为一种重要的文化形态与民俗现象,尤其是虎神崇拜引人注目,但是学界对其成因解释歧见甚多。利用王国维的“二重证据法”,结合《说文解字》虎部字词、《诗经》等传世文献,证以“虎豕斗”系列地下出土考古文物,可窥悉人类迎虎、祭虎古礼的真实动因是老虎能捕食田豕、野鹿等农害,有效维护生态平衡,故被先民尊作农业的保护神。道家宗师庄子“虎狼,仁也”精彩命题的提出,更是凸显出“万物同齐”“和而不同”等中国古典哲学特色,给当今世界构建人类命运共同体的普世价值馈赠了宝贵的知识经验、生存智慧,从而破译我们赖以根植的民族秘史。

仪式乐舞的文本层次与叙事结构——以青海黄南藏族传统仪式乐舞为例

代表着青海黄南传统文化的藏族乐舞仪式“六月会”,具有跨族群文化内容和多元审美形态。其各类文本中的程式(巫)和程序细节(礼)成为远古神话的符号。其乐舞文化包含三层叙事结构:精神信仰的濡化叙事,涉及乐的语义表述,依托于仪式中的程式与仪式人来进行;文化形态的情境叙事,涉及乐的语境表述,依托于仪式中以乐器为代表的能指来实现;娱情审美的情感叙事,涉及乐的互文表述,依托于音乐语言、音声、表演与受众的行为交互来完成。

福建陈靖姑信仰中巫文化的源流与发展

巫文化特质是早期陈靖姑信仰的基本内涵之一。陈靖姑信仰中的巫文化内涵既可以通过巫医群体在人类文明演进过程中承担着重要职责的意义来加以透视,也可以将其追溯到原始社会时期具有生殖巫术与图腾巫术象征意义的蛇神信仰。在两宋时期,随着王朝政府推行的“禁巫运动”与“封神运动”,陈靖姑实现了由“巫”而“神”的形象蜕变。在明清时期,陈靖姑信仰则与南方巫教相结合,并催生出了一支新的闾山法支系——夫人教,陈靖姑成为这支派的法主神。陈靖姑信仰与闾山教派的互相吸纳,为推动彼此文化的繁荣昌盛注入了新的动力。

澳门路环谭公庙神功戏棚的营造与建构

数世纪以来,澳门地区逐渐形成以海神信俗为代表的海洋文化。海神庙宇作为物质与精神世界和谐统一的象征,承载着多重公共属性,影响城市发展,见证城市变迁。神功戏作为海神信俗神诞庆典中流程核心及仪式高潮,其空间载体神功戏棚的周期性营造和搭建活动体现了海神信俗文化对城市格局和建筑空间的影响。以澳门路环谭公庙神功戏棚为例,从场地、空间、营造与建构等方面,梳理神功戏棚这一海神文化空间特征,以及澳门地区海神信俗与建筑、城市发展之间动态、和谐及相辅相成的关系。以期解读蕴藏于节庆民俗中的建筑营造与建构智慧,同时引发更加全面、深入的研究与探讨。

汉画雷神图像研究

雷神作为中国最早的气象神崇拜之一,经历了从“兽”向“神”、从自然神灵逐渐转变具有复杂社会职能的人格神灵的变化过程,由神话学转为宗教学。至汉代,雷神具备了纯粹的人格化特征,且雷神信仰在汉代特殊的神仙语境下有了仙化的倾向。汉画雷神图像存在复合兽形、半人半兽形和人形这几种外形并行存在的现象。其图像构成及表现形式均呈现出由单一走向复杂、综合的趋势,雷神成为图像中的主要叙事元素,空间结构的处理方式也愈发灵活,在继承楚文化浪漫主义特点的同时,又秉承着汉代艺术的古拙、雄浑的艺术色彩。通过分析汉画雷神图像的艺术特征,从艺术学角度探究民族艺术创作的价值及审美取向,从背后蕴含的精神信仰、社会信俗和理念内涵探究汉代独特的民族文化心理、世界观。

庚、单诸字与雷神崇拜

庚、庸、康、单等甲骨文字,是雷神崇拜过程中遗留的文字活化石。庚、单二字由象征雷神的柱鼓构成,庚字上的倒三角形歧首和单字上方的两个鼍皮小鼓,象征商人始祖神帝喾和商契。庸字是雷神祭仪中柱鼓与钲的组合,康字是祈雨祈丰的祭祀意涵的体现。象征雷神之柱鼓兼具信仰符号、社会组织符号的双重内涵,商人围绕它在聚落范围内建立起公共秩序。在此基础上,城邑、国家等更大范围的统治理念逐渐发展起来。

中国科举制度与道教——以梓潼梦为中心的考察

梓潼梦是古代士人祈求梓潼神保佑中举的梦境。梓潼神主管科举桂禄的神格衍生出梓潼梦的仙话传说,是揭示道教与中国梦文化关系值得研究的问题。史籍中关于梓潼梦的各种灵验故事,是士人企盼科举成功心态的社会记忆。唐宋时期蜀中士人的各种梓潼梦故事,丰富了中国梦文化的内容,也反映出中华文昌文化的思想内涵。梓潼梦所彰显的文昌帝君司禄主功名的神格,奠立了士大夫阶层崇拜文昌帝君的格局。梓潼梦故事在科举制度下的流行,反映了道教对科举制度的神学影响。唐宋以来社会上流传的梓潼梦故事,是中国科举制度与道教神仙信仰相结合的产物。宋代道教宗师通过编撰褒扬梓潼帝君灵验的经书、用于祭祀梓潼帝君的斋醮科仪、供信仰梓潼神的文士受箓所用的文昌箓,对梓潼神进行道教神学的提升,以彰显梓潼梦的感应功能。通过一系列对梓潼神的道教化改造,宋代以后道教已建构起文昌帝君信仰体系。道教对梓潼梦灵验故事的特殊建构,道教的梓潼神成为中国社会专掌司禄的文化大神,深刻影响了古代拳拳于科举的士人。

平遥城隍庙保护研究述略

从建筑形制、规模、院落层次等方面,详细阐述了平遥城隍庙的基本情况,介绍了其历史发展过程及不同年代的保护修缮工程,通过分析诸多专家学者对平遥城隍庙的研究成果并实地考察,得到了一些启示,即在做好当前保护修缮工作的同时,需进一步研究阐述城隍信仰的内涵,为今后的文物保护与活化利用工作打下坚实的基础。