Le Minneapolis Institute of Arts heberge une prestigieuse collection de bronzes et de jades chino... more Le Minneapolis Institute of Arts heberge une prestigieuse collection de bronzes et de jades chinois anciens. Parmi ces objets, plusieurs d'entre-eux sont ornes de figures humaines qui retracent l'evolution de la representation de l'homme sous les Tcheou orientaux et a l'epoque des Royaumes Combattants, la figure humaine n'etant pas un motif marquant sous la dynastie Chang (env. 1050-771 av. J.-C.) ou les Tcheou occidentaux (env. 1050-771 av. J.-C.).
With the wax and wane of the relationship between China and the West, art collectors have been fo... more With the wax and wane of the relationship between China and the West, art collectors have been forced to adjust to significant changes in access to Chinese art. Increasingly tough restrictions on buying and selling artwork have been enforced by the Chinese government in an effort to safeguard the country's cultural heritage. Meanwhile, auction houses and private collecting have recently flourished within China. These new developments challenge how Westerners are able to collect and exhibit Chinese art. This detailed and carefully researched volume on the history of specific collectors, dealers, and museum collections presents a discussion between curators about the difficulties of collecting Chinese art in the twenty-first century. While highlighting the issues facing Chinese art collectors today, this volume also examines strategies employed by curators to continue to both build their collections and to document the origin and attribution of items in their collections. The essays included in this book survey collections in the United Kingdom, the United States, and Canada. Some of the world's top Chinese art scholars present intriguing case studies grounded in art objects--bronze, jade, ceramics, sculpture, and painting--and discuss hot-button issues of provenance and authenticity. They are presented here to explore the subtleties of collecting and exhibiting Chinese art, and explain how things have evolved through past centuries. Through a series of well-written and illuminating essays, this volume ultimately reveals how shifting tastes, political climates, and ambitions, as well as various opportunities and personalities were instrumental factors in forming some of the most important collections of Chinese art in the world today.
Le Minneapolis Institute of Arts heberge une prestigieuse collection de bronzes et de jades chino... more Le Minneapolis Institute of Arts heberge une prestigieuse collection de bronzes et de jades chinois anciens. Parmi ces objets, plusieurs d'entre-eux sont ornes de figures humaines qui retracent l'evolution de la representation de l'homme sous les Tcheou orientaux et a l'epoque des Royaumes Combattants, la figure humaine n'etant pas un motif marquant sous la dynastie Chang (env. 1050-771 av. J.-C.) ou les Tcheou occidentaux (env. 1050-771 av. J.-C.).
With the wax and wane of the relationship between China and the West, art collectors have been fo... more With the wax and wane of the relationship between China and the West, art collectors have been forced to adjust to significant changes in access to Chinese art. Increasingly tough restrictions on buying and selling artwork have been enforced by the Chinese government in an effort to safeguard the country's cultural heritage. Meanwhile, auction houses and private collecting have recently flourished within China. These new developments challenge how Westerners are able to collect and exhibit Chinese art. This detailed and carefully researched volume on the history of specific collectors, dealers, and museum collections presents a discussion between curators about the difficulties of collecting Chinese art in the twenty-first century. While highlighting the issues facing Chinese art collectors today, this volume also examines strategies employed by curators to continue to both build their collections and to document the origin and attribution of items in their collections. The essays included in this book survey collections in the United Kingdom, the United States, and Canada. Some of the world's top Chinese art scholars present intriguing case studies grounded in art objects--bronze, jade, ceramics, sculpture, and painting--and discuss hot-button issues of provenance and authenticity. They are presented here to explore the subtleties of collecting and exhibiting Chinese art, and explain how things have evolved through past centuries. Through a series of well-written and illuminating essays, this volume ultimately reveals how shifting tastes, political climates, and ambitions, as well as various opportunities and personalities were instrumental factors in forming some of the most important collections of Chinese art in the world today.
Collection of sixteen peer-reviewed essays on the global phenomenon of imperial and colonial arch... more Collection of sixteen peer-reviewed essays on the global phenomenon of imperial and colonial archaeology in the nineteenth and twentieth centuries.
Deciphering the Graphs Lai and Qiu, with an Excursion on the Fanqie Spellings in Ancient Chinese Writing
本文是「西周金文疑難字與戰國楚簡系列考釋」的第一篇。近來流行以戰國楚簡為綫索考釋西周金文疑難字的方法,本文檢視此種方法在理論上的缺失,並以「逨」與「逑」為例,說明古文字考釋應該注意字形與字音演變... more 本文是「西周金文疑難字與戰國楚簡系列考釋」的第一篇。近來流行以戰國楚簡為綫索考釋西周金文疑難字的方法,本文檢視此種方法在理論上的缺失,並以「逨」與「逑」為例,說明古文字考釋應該注意字形與字音演變的辯證關係。本文從對「逑」一組字的 歷時音變、古文字「一形多讀」的特性、古文字中的「拼音字」和詩韻的認識,論證西周金文中的「逨」字有一個從職部、到之部、再到幽部的音變過程,同時字形也有相應變化。從字形、字音演變的辯證關係出發,我們可以推論,西周金文裏以往釋為「逑」的字,其實應該是「逨」字 。本文也討論了古文字中一種類似後世反切字的「拼音」構形方法,指出楚簡中從戈從來的字可能是「戈」與「來」的反切「拼音字」。
This is the first in a series of articles on the methodological issues in using later Warring States period clues to decipher earlier Western Zhou bronze inscriptions. It points out that the current practitioners of this method have largely overlooked the inherited phonological and graphic changes by forcing Western bronze inscriptions to match directly with transmitted texts. Using the graphs “lai” (OCM *mrə̂k > *rə̂k > *rə̂) and “qiu” (OCM *gu) as examples, I argues that “lai” had gone through phonological changes from *gwə̂k > *gwə > *gu, and its forms changed accordingly. Thus the graph in Western Zhou bronze inscriptions should be “lai” rather than “qiu.” I also discuss the oftenoverlooked phenomenon of fanqie spellings in paleographical data, which has great implications for our understanding of the nature of the ancient Chinese writing system. A character with radicals of ge and qiu in the Chu bamboo writing is typical of the fanqie phonetic compounds.
Addendum to a Study of the Character “Jie”: With a Discussion of the Fallacy in the “Conversion” of the Rhyme Portion of Loan Characters and of the Origin and Basic Meaning of the Adverb “Congrong”
本文討論楚文字中一個高難度的「 」字的考釋及其相關的方法論問題。在各家說法之中,本文同意劉樂賢最初釋為「疌」字的考釋,並從破與立兩個方向進行論證。
在「破」的方面,針對目前學界普遍接受的陳劍之... more 本文討論楚文字中一個高難度的「 」字的考釋及其相關的方法論問題。在各家說法之中,本文同意劉樂賢最初釋為「疌」字的考釋,並從破與立兩個方向進行論證。
This article discusses the decipherment of a difficult character ( and its variants) in Chu manuscripts. The clues for the decipherment are twofold: first, this character has corresponding variants in transmitted and excavated texts, such as cong 從 in the “Ziyi”, and zan 簪 and chan 讒 in the Zhouyi; second, at least one of its semantic fields centers on the meaning of “fast/ quick.” Among many suggestive theories, I think that the initial decipherment by Liu Lexian is right; that is, the difficult character is jie 疌 (or 寁 ), although his theory deserves further elaboration. This article first reviews the popular theory proposed by Chen Jian who interprets the above graph under discussion as that of the graph cong 琮 . Chen’s theory suffers from two mistakes. The first is that he tries to explain away the variants by employing the false method of the “conversion”of the rhyme portion of loan characters, that is, if the initial and the main vowel of two graphs are the same or very close, regardless their codas, they could be used interchangeably (i.e. they are loan characters). The second is that he equates this character directly with its corresponding graph in the transmitted texts, that is cong 從 in the adverb congrong 從容 , and from the pronunciation of cong (OCM*dzoŋ) he attempts to make a connection with the graph cong (OCM*dzûŋ). But both his phonological analysis and graphical exploration are flawed. Instead, this article argues that the difficult character in Chu manuscripts is the equivalent of the graph jie 疌 in the Qin writing system. The top parts of both graphs (* 立 and ) represent a hairpin (zan 簪 ) and are both used as the phonetic element (pronounced the same as qie 妾 , OCM*tshap). This character went through the sound changes from 疌(OCM*dzap)> 讒(OCM *dzrâm) > 簪(OCM *tsrəm)(meaning “fast/quick”) and its parallel 疌(OCM*dzap) 45Addendum to a Study of the Character “Jie” > 漸(OCM tsam)> 侵(OCM tshəm)(meaning “[of a sickness] becoming serious/critical”). The connection between jie 疌 and cong 從 was the result of phonetic assimilation (i.e. sandhi). The main vowel and the coda of jie were assimilated by the following word rong 容 (OCM*loŋ), and it became OCM*dzoŋ, when the word jierong (meaning “behavior/action/manner”) changed from a compound noun to an expressive binome congrong (meaning “act in a calm or easy manner/calmly/leisurely”). Through discussing the decipherment of the character jie, this article calls for a reexamination of some of the most basic methods and assumptions in the study of Chinese paleography. Due to the limitation of the resources they had (mainly transmitted texts, whose diachronic layering is often not very clear), the Qing dynasty scholars often confused synchronic homophonous borrowing with diachronic sound change, and so they developed the method of the “conversion”of the rhyme portion of loan characters in order to explain away the phonological differences among the variants. Many modern paleographers, due to the lack of basic general linguistic knowledge and the methodological self-awareness, follow blindly the Qing scholars’ method and create more problems rather than solve them in paleographical decipherment. With the help of newly excavated manuscripts, whose date and location are often much clearer, we hope to develop new methods in paleographical decipherment.
Uploads
歷時音變、古文字「一形多讀」的特性、古文字中的「拼音字」和詩韻的認識,論證西周金文中的「逨」字有一個從職部、到之部、再到幽部的音變過程,同時字形也有相應變化。從字形、字音演變的辯證關係出發,我們可以推論,西周金文裏以往釋為「逑」的字,其實應該是「逨」字 。本文也討論了古文字中一種類似後世反切字的「拼音」構形方法,指出楚簡中從戈從來的字可能是「戈」與「來」的反切「拼音字」。
This is the first in a series of articles on the methodological issues in using later Warring States period clues to decipher earlier Western Zhou bronze inscriptions. It points out that the current practitioners of this method have largely overlooked the inherited phonological and graphic changes by forcing Western bronze inscriptions to match directly with transmitted texts. Using the graphs “lai” (OCM *mrə̂k > *rə̂k > *rə̂) and “qiu” (OCM *gu) as examples, I argues that “lai” had gone through phonological changes from *gwə̂k > *gwə > *gu, and its forms changed accordingly. Thus the graph in Western Zhou bronze inscriptions should be “lai” rather than “qiu.” I also discuss the oftenoverlooked phenomenon of fanqie spellings in paleographical data, which has
great implications for our understanding of the nature of the ancient Chinese writing system. A character with radicals of ge and qiu in the Chu bamboo writing is typical of the fanqie phonetic compounds.
在「破」的方面,針對目前學界普遍接受的陳劍之說進行反駁。反駁的理由有二:一是陳劍等以為該字與「從」、「宗」、「造」、「簪」、「讒」等經典異文都是通假關係,可以「通轉」,這是犯了混同歷時演變與共時通假的錯誤,把不同時代的音變(異文)放在共時的平台上處理。二是陳劍認為該字與傳世〈緇衣〉的「從」字對應,然後從「從」這個讀音及字形,聯繫甲骨文、金文,以為該字主體部分象「琮」形。本文指出陳說的錯誤在於選定從「從」的讀音去探源,不但「從」與「琮」上古音不同,不可通假,而且在「琮」的字形溯源方面,證據不足。
在「立」的方面,本文主張楚簡該字即秦系文字的「疌」字,兩字上部的「* 立」和「 」形,其實都是「簪」的象形,且用為聲符(讀音與「妾」相同)。該字的讀音經歷了疌→讒→簪(「疾、速」義)和與其平行的疌→漸→侵(「病篤」義)的歷時演變。而該字與「從」字的關係,其實是聯綿詞「從容」,原來是複合名詞「疌(接)容」,通過連讀音變(疊韻)而成為後世的摹狀形容詞「從容」。
This article discusses the decipherment of a difficult character ( and its variants) in Chu manuscripts. The clues for the decipherment are twofold: first, this character has corresponding variants in transmitted and excavated texts, such as cong 從 in the “Ziyi”, and zan 簪 and chan 讒 in the Zhouyi; second, at least one of its semantic fields centers on the meaning of “fast/ quick.” Among many suggestive theories, I think that the initial decipherment by Liu Lexian is right; that is, the difficult character is jie 疌 (or 寁 ), although his theory deserves further elaboration.
This article first reviews the popular theory proposed by Chen Jian who interprets the above graph under discussion as that of the graph cong 琮 . Chen’s theory suffers from two mistakes. The first is that he tries to explain away the variants by employing the false method of the “conversion”of the rhyme portion of loan characters, that is, if the initial and the main vowel of two graphs are the same or very close, regardless their codas, they could be used interchangeably (i.e. they are loan characters). The second is that he equates this character directly with its corresponding graph in the transmitted texts, that is cong 從 in the adverb congrong 從容 , and from the pronunciation of cong (OCM*dzoŋ) he attempts to make a connection with the graph cong (OCM*dzûŋ). But both his phonological analysis and graphical exploration are flawed.
Instead, this article argues that the difficult character in Chu manuscripts is the equivalent of the graph jie 疌 in the Qin writing system. The top parts of both graphs (* 立 and ) represent a hairpin (zan 簪 ) and are both used as the phonetic element (pronounced the same as qie 妾 , OCM*tshap). This character went through the sound changes from 疌(OCM*dzap)> 讒(OCM *dzrâm) > 簪(OCM *tsrəm)(meaning “fast/quick”) and its parallel 疌(OCM*dzap) 45Addendum to a Study of the Character “Jie” > 漸(OCM tsam)> 侵(OCM tshəm)(meaning “[of a sickness] becoming serious/critical”).
The connection between jie 疌 and cong 從 was the result of phonetic assimilation (i.e. sandhi). The main vowel and the coda of jie were assimilated by the following word rong 容 (OCM*loŋ), and it became OCM*dzoŋ, when the word jierong (meaning “behavior/action/manner”) changed from a compound noun to an expressive binome congrong (meaning “act in a calm or easy manner/calmly/leisurely”).
Through discussing the decipherment of the character jie, this article calls for a reexamination of some of the most basic methods and assumptions in the study of Chinese paleography. Due to the limitation of the resources they had (mainly transmitted texts, whose diachronic layering is often not very clear), the Qing dynasty scholars often confused synchronic homophonous borrowing with diachronic sound change, and so they developed the method of the “conversion”of the rhyme portion of loan characters in order to explain away the phonological differences among the variants. Many modern paleographers, due to the lack of basic general linguistic knowledge and the methodological self-awareness, follow blindly the Qing scholars’ method and create more problems rather than solve them in paleographical decipherment. With the help of newly excavated manuscripts, whose date and location are often much clearer, we hope to develop new methods in paleographical decipherment.