也谈《易经》简帛本的蛊、丰二卦——与萧汉明先生商榷

对萧汉明先生蛊卦为奉父鱼肉、丰卦“日中见斗”为太阳黑斑说提出不同意见,另依古字本义通释二卦,解“蛊”为腹蛊,丰卦为击鼓救日,并解帛书“弓”为“救日弓”,“蔀”、“芾”、“屋”皆指蔽日之影。     

李贽“文王之卦”解

李贽《九正易因》着力于阐发文王、孔子"神圣心事",其"文王之卦"说继承发展了传统"三陈九卦"说,以《明夷》、《困》等十六卦为具体内容,深入阐发文王忧患之事、处困之道、尚贤养贤之道、风化天下等内容。"文王之卦"是李贽《易》学思想的核心内容,体现了《九正易因》独特的《易》学史价值。     

《秋庭婴戏图》对杨柳青娃娃画色彩方面的影响

婴戏图为宋代绘画流行题材。娃娃类年画是早期杨柳青年画作品的主要内容。《秋庭婴戏图》色彩浓艳、厚重、深沉,具有引人入胜的审美境界。受《秋庭婴戏图》的影响,杨柳青娃娃画色彩讲求鲜明典雅,手法以版印和传统的工笔重彩相结合,具有写实、纤巧、工整的院画风味。《秋庭婴戏图》对杨柳青年画起着潜移默化的作用及影响。     

宋代小品画的文人情怀

宋代山水小品画是传统山水画史上的一道亮丽风景,独特的格调品位使其日久弥新。究其形成的相关背景我们不难发现,北宋文人画观念对其发展过程不无影响。文人画不仅仅是一种艺术品的类别和形式,更为确切地说,这是文人的生活方式的再现。这种生活方式最能体现文人精神的高度自由。     

Sign,Image and Language in The Book of Changes CYijing 易经）

It is challenging to estimate the degree to which the system of the Trigrams and Hexagrams in The Book of Changes （Yijing） had an impact on the whole history of Chinese thought. The universal paradigm from which it was derived formed the basis of a semiotic theory of evolution which, because of structural analogies, was applied to all fields and aspects of human life where decision making and action in correspondence with a cosmic principle was required. To achieve that goal, countless commentaries on and interpretations of the Yijing have been written. They can be divided into two schools. The first used the Yijing as a book for divination, in combination with manifestations of the universe and nature. The second interpreted it with a philosophical background, making it part of the tradition of Confucian thought. Modem scholars have also contributed some new approaches to the Yijing. My paper is based on the assumption that the Trigrams and Hexagrams of the Yijing cannot be understood in a purely representational way. They do not represent things apart from their relation to human needs or consciousness. Because of the co-determination of text and reader as a task without determinate end-points, it proves to be a unique case of effective-history. In the Yijing, there is no real line between culture and nature, sign/image/language and fact, the universe of semiosis and other universes. With its use of signs, images and language, the Yijing confirms that the universe of semiosis is the universe of heaven, earth and man. Against this background, my explanations will not only focus on the Trigrams and Hexagrams. My paper will also deal with the following topics： （1） interpenetration of linguistic meaning and objective reality and （2） the social nature of verbal or literary expression.     

咸卦考

随着理学的兴盛,中国古老的"一阴一阳之谓道"的思想为"所以阴阳者乃道"的思想取替,与此相应,对"咸"卦解释的历史,亦成为一部对其"祛身化"、"祛性化"的历史,一部对其实施道德"阉割"而使其成为"理学"传声筒的历史,源自"无心之感"的生命的"对话"哲学不可避免地滑入了"执一贼道"的意识的"独白"哲学.惟有重拾大易"咸"卦所蕴含的男女间的身体元语言,我们才能勘破"以理杀人"的后专制社会统治以及今日福柯所谓的"自体看管技术"的内在隐秘,进而重返人的身体、人的生命及其尊严,最终回到由体感而生情、情深而文明这一中华古老文明的主旨上.     

陈庄考古发现比较摭谈

陈庄西周早中期遗址考古发掘获重大成果,其中车马坑可与胶县西菴商代晚期者作横向比较;而西周早期刻有周易卦画的卜甲,分别为周易中之"艮"与"噬嗑",可与平阴朱家桥殷代陶罐上刻画之"损"卦相联系。豊般铜器之主人,应与山东商周古国发生密切的文化交往。     

《周易》战伐之事考论——以《师》卦为中心的儒家军事思想探讨CSSCI

《周易》虽是占筮之书,但也记载了许多战伐之事,遍涉战争性质、出师名义、攻守情势、战略决策、战术选择、行军纪律、作战地形、军事技能、赏罚奖惩等方面,从而构成研究周代军事历史的重要史料。透过兑卦、比卦,反战、厌战情绪跃然纸上,远离战争、回归和平是《周易》最基本的价值要求。《师》卦是周代的一部兵法总纲。六爻卦辞分别讲述用兵打仗的规律,强调用兵须正,出师有名,点将、择帅也要正,这才是带领兵众克敌制胜之道。《同人》卦则是周代部族战争曲折过程的真实记录。     

《易》学源流及其《易》源论证

(一)《易》学源流 《易》始于《墳》,《墳》是我国最早的萌芽《易》书。“墳”字之义,凡突出于地面的丘、陵、岗、垄,皆谓之“墳”。自有人类原始之初,面临着空濛天象,洪荒地险,紧迫人生,这三件大事,如“墳”底突出人世,须人认识、研究、利用、志之为书,故名《三墳》。按古史划分,在洪荒纪后,滋演纪初,天皇先灵氏,取天象以治人世,才演《象》。地皇后德氏,酌地形以谋地利,才演《形墳》。人皇居方氏,研气命以卫民生,才演《气墳》。三皇并用物体符号代文作记,成为肇始《初墳》。下传三帝,即《孔子家语》所说:自伏羲以下称帝。昊帝伏羲,观天象。     

试析宋代官方学校美术教育的基本特征

在宋代,画学教育同画院教育一样都取得了巨大成就。首先,培养出了许多优秀画家,如李希成、李唐、刘坚、苏汉辰、韩若拙等。其次,画风多元,由于采取考试制度,许多民间优秀画家被录入,使民间风格与院体并存。其三,由于重视培养学生的诗书修养,从而开拓了绘画新境地,更使精密不苟的工笔花鸟画达到精微传神的新高峰,同时也使画院的体制更完备。