發(fā)布時間：2017-12-26 23:03

  本文關(guān)鍵詞：中國漢前四靈文化研究　出處：《山東大學(xué)》2016年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 漢前 四靈 文化

【摘要】：“四靈”的整體或個體經(jīng)常出現(xiàn)在我國古代建筑、雕塑、壁畫、服飾當(dāng)中,出現(xiàn)在我國古代文化典籍和考古當(dāng)中,出現(xiàn)在我國神話傳說和道教、佛教當(dāng)中,出現(xiàn)在我國古代一些器物器皿當(dāng)中,對“四靈”的研究和解讀,不僅關(guān)系到傳統(tǒng)文化文本的研讀和理解,而且可以增強各國人民對我們的正確認(rèn)識和了解。隨著中華民族在世界的崛起和中外文化交流的加強,中國的傳統(tǒng)文化在世界上也越來越受到前所未有的重視,我們在繼承和發(fā)掘我國古代優(yōu)秀的傳統(tǒng)文化過程中,在對外文化交往中,必然會遇到一些急迫的問題需要及時作出回答,尤其是一些深層次的涉及民族精神民族心理的文化現(xiàn)象,其中“四靈”文化是一個重要內(nèi)容,“四靈”文化不僅涉及范圍廣,而且與我們民族心理、民族精神等深層次的文化解讀和闡釋密切相關(guān),如中華民族為什么以龍為喻?中華龍象征著什么?“四靈”結(jié)合在一起過程是怎樣的?有什么特殊的涵義?和我們民族性格有什么關(guān)系?“龍鳳呈祥”中龍和鳳為什么和吉祥常常聯(lián)系在一起?背后的哲學(xué)基礎(chǔ)是什么?中國人為什么喜愛龍和鳳并且以它們?yōu)槊?這些問題不僅中國人有著強烈的尋根問底的興趣,越來越多的外國人在了解和解讀時也感到非常好奇。因此,四靈文化研究具有重要的學(xué)術(shù)價值和現(xiàn)實意義,可以讓我們更好的認(rèn)識中國古代歷史、風(fēng)俗習(xí)慣、政治制度、民族宗教,可以更好的研究涉及我們民族精神民族心理等深層次的內(nèi)容,更好的繼承和傳播我國優(yōu)秀的傳統(tǒng)文化,豐富中國人的人文精神,同時,對于增強民族審美意識和民族凝聚力,弘揚民族傳統(tǒng)文化,加強我們的對外文化交流,也具有重要作用。本文通過結(jié)合以往的研究成果和考古發(fā)現(xiàn),在前人研究的基礎(chǔ)上,采用縱向研究與橫向研究相結(jié)合的方法,采用王國維提倡的二重證據(jù)法,以歷史為經(jīng),以各個歷史階段對四靈的研究為緯,將文獻(xiàn)資料與地下出土資料相結(jié)合,通過演繹與綜合、個案考察與理論總結(jié)相結(jié)合的方法,利用文獻(xiàn)學(xué)、考古學(xué)、文學(xué)、歷史學(xué)、文字學(xué)、民俗學(xué)、文化學(xué)等多學(xué)科領(lǐng)域的理論與方法,綜合性地展開對四靈的研究。論文主體部分五章,前有緒論,后有結(jié)語。緒論首先從“四靈”出現(xiàn)時間、“四靈”形成的時代和知識背景、“四靈”組合的歷史過程三個方面探討了“四靈”形成背景及過程,其次在探討漢代四靈發(fā)展及四靈異化的基礎(chǔ)上,對“四靈”概念進(jìn)行了辨析及界定界定。最后對“四靈”研究現(xiàn)狀及意義進(jìn)行了論述,回顧了國內(nèi)“四靈”文化研究成果和國內(nèi)外“四象”或“四神”文化研究成果：找到了四靈文化研究的薄弱環(huán)節(jié)或?qū)W術(shù)空白,為論文寫作確定了重點和方向；闡述了論文研究方法和研究意義；介紹了論文結(jié)構(gòu)。第一章對龍的原型、史前到三國時期不同歷史階段的龍文化形象及其嬗變過程,作了相對完整的梳理。首先結(jié)合分析先秦文獻(xiàn)中洧淵之龍、絳郊之龍、堯舜禹時的“中國”之龍、越國之龍,三國時的井中之龍,歸納出龍的生態(tài)特征與分布區(qū)域,考證出龍的原型應(yīng)該是揚子鱷。其次以歷史為線索,梳理了從先秦到三國時期龍的不同文化形象及嬗變過程：漢代以前龍的文化形象,是兇猛又帶來禍患的靈異之物,來往天上地下人間三界的神物,一種人神都可騎坐的對象。以司馬遷《史記》為中心,分析了關(guān)于漢代龍的文化意象,重點探討了司馬遷在《史記》中以龍喻帝王的文化內(nèi)涵。首先對秦始皇、劉邦以龍為喻進(jìn)行了對比分析,確定秦始皇是第一位被比喻為龍的帝王,而將劉邦比喻為龍,則是運用了一系列比喻手法組成了一個龍脈系統(tǒng)。通過系列傳奇故事,探究了司馬遷將劉邦比喻成龍的原因和目的,正是基于漢政權(quán)正當(dāng)性和合法性的需要,同時探討了司馬遷的天命觀和歷史觀在中國龍文化的發(fā)展演變中具有的重要思想價值。在《漢書》中,黃龍象征國泰民安,黑龍是災(zāi)難禍患的征兆,井中之龍象征天災(zāi)人禍。《后漢書》中龍的文化涵義發(fā)生了改變,龍的比喻從他人神話變?yōu)樽晕疑裨?英雄俊杰、文學(xué)之士亦可稱為龍,以龍為名的或以龍為姓的平常之人也開始出現(xiàn),龍開始具有主管四季降雨的職責(zé)。第二章對漢前鳳的文化形象及動物原型進(jìn)行了探討。以歷史為線索,結(jié)合分析先秦文獻(xiàn),梳理了從先秦到漢代鳳的不同文化形象及嬗變過程,探討了鳳作為天下清明祥和的象征,體現(xiàn)了天人合一、天人感應(yīng)的思想�？甲C了鳳的原型最有可能是孔雀,鳳凰作為一種靈物崇拜,是文化交流和傳播的結(jié)果。重點論述了漢宣帝鳳字年號文化背景與政治意圖的關(guān)系。漢昭帝是最早用鳳凰作年號的皇帝,而漢宣帝當(dāng)政時期是記錄漢代鳳凰出現(xiàn)次數(shù)最多,鳳凰最受皇帝重視的時期。以漢宣帝為例,從天人感應(yīng)的視角,探討帝王年號用鳳的原因�！傍P”的最初涵義是吉祥之鳥；帝王年號用鳳的思想根源是以“萬物有以相連”理論產(chǎn)生的天人感應(yīng),而漢宣帝之所以用“鳳”作為自己執(zhí)政年號,主要是在自己執(zhí)政諸多不利的情況下,從輿論上證明自己繼承帝位的正當(dāng)性,贏得民心,粉飾太平,同時為自己心靈得到慰藉,于是采用了“五鳳”作為自己執(zhí)政的年號。第三章對漢前龜?shù)奈幕�形象進(jìn)行了探討。以歷史為線索,結(jié)合分析先秦文獻(xiàn),梳理了從先秦到漢代龜?shù)牟煌�文化形象及嬗變過程：在史前期,我們從神話傳說和考古資料里追尋龜在新石器時代對于人們的作用和意義,龜作為頂天負(fù)地、力大無比、長壽不老、預(yù)知吉兇的形象,龜作為溝通天人之間的使者,人們信仰它,崇拜它。九江進(jìn)貢中央大龜和夏帝啟用龜占卜鑄鼎之事的文獻(xiàn)記載,無可辯駁的證明了龜卜在夏代的重要性。商代是龜崇拜的繁榮時期,是龜卜在中國歷史上占據(jù)最重要地位的時期,舉凡國家大事都要通過占卜來預(yù)測吉兇。商代建立了完備的專門的占卜機構(gòu)和嚴(yán)密的占卜程序,為以后的龜卜的繼續(xù)發(fā)展和繁榮提供了經(jīng)驗和指導(dǎo)。同西周相比,春秋時期人們對龜卜的態(tài)度發(fā)生了明顯變化。在更大規(guī)模和更廣范圍使用的同時,龜卜的神圣性在一定程度上遭到踐踏。從戰(zhàn)國到秦代,由于百家爭鳴的出現(xiàn)和人類自身的覺醒,使得原來結(jié)合在一起的神權(quán)和政權(quán)出現(xiàn)了分離,龜卜在國家政治生活中已變得可有可無,龜卜徹底衰落了。在漢武帝和王莽時期,龜卜出現(xiàn)了兩次短暫興盛,但這只是在特殊歷史時期和特殊條件之下的回光返照,龜卜的命運再次歸于沉寂,是歷史的必然。第四章對漢前麒麟文化形象及動物原型進(jìn)行了探討。以歷史為線索,結(jié)合分析先秦文獻(xiàn),梳理了從先秦到漢代麒麟的不同文化形象及嬗變過程,探討了麒麟作為天下大治祥和繁盛的征兆及其對史學(xué)的影響,結(jié)合現(xiàn)代動物學(xué)的知識和歷史文獻(xiàn),考證了我國古代麒麟就是印度犀。一直以來,受儒家影響,麒麟經(jīng)常以仁獸、靈獸的形象出現(xiàn)在先秦諸子及以后的文化典籍里面,是天下大治祥和繁盛的征兆；在黃老思想占主流的《淮南鴻烈》里,出現(xiàn)了“麒麟斗而日月食”的麒麟兇猛威武的另一面。從先秦到兩漢,麒麟的形象經(jīng)過了一個變化的過程：從自然界的一員,到把杰出人物比喻成麒麟,把萬物之長宇宙之長的圣人比喻成麒麟。麒麟與我國史書的關(guān)系較為密切,從孔子作《春秋》的絕筆于獲麟；到漢武帝獲白麟,司馬遷封筆《史記》；《越絕書》的寫作也是直接受“絕筆獲麟”的影響。根據(jù)現(xiàn)代動物學(xué)的知識和歷史文獻(xiàn)記載,對于麒麟為什么是“仁獸”作了探討：從甲骨文和金文文字證明了商周之時麒麟的存在；從麒麟的身上似披上多層鎧甲而且有圓泡釘式的肉包,把印度犀牛和其他犀牛區(qū)別開來；繼而分析了麒麟與我國古代犀、兕之間的區(qū)別；最后從麒麟與印度犀的體形,一只肉角,圓蹄,顏色,生活習(xí)性等各方面證明了我國古代麒麟就是印度犀,回答了麒麟為什么是仁獸,人們喜愛麒麟的原因。第五章探討了四靈體系的形成原因和對后世的影響。本章首先回顧四靈形成研究成果,學(xué)術(shù)界探討四靈形成原因的文章不少,其中以陳久金“圖騰說”、倪潤安“天象和兵家說”和蕭兵的“生命力說”最有代表性。其次從三個方面論述了“四靈”形成原因,一是論述了戰(zhàn)國時期深入人心的大一統(tǒng)是“四靈”形成思想背景;二是從民族融合和文化整合的角度探討了《禮記·禮運》篇出現(xiàn)原因;三是提出了“四靈”形成是民族認(rèn)同不斷發(fā)展民族文化不斷整合的結(jié)果。最后較為詳盡的考述了四靈對后世的影響。首先以年號為例,論述了四靈與皇權(quán)的關(guān)系。四靈之中,龜與龍的地位變化最大,龜?shù)牡匚怀氏陆第厔?龍呈上升趨勢,麒麟雖呈下降趨勢,但沒有龜龍變化的幅度大,鳳的變化最小。其次論述了四靈與宗教的關(guān)系,四靈與文學(xué)的關(guān)系,四靈與科舉的關(guān)系,四靈與封建上層的關(guān)系與下層民眾的關(guān)系。全文最后以一個結(jié)語對四靈作出了整體評價,對四靈個體在歷史上的地位及影響的變化作了總結(jié)。四靈文化是中華大地上各民族間文化交流碰撞的產(chǎn)物,伴隨著以生活在中原為中心的民族走向統(tǒng)一而逐漸形成。四靈文化從單個個體形成四靈整體的過程,也是中國各民族間從松散的結(jié)合走向真正融合的過程,是各氏族部落或民族間文化交流孕育出來的結(jié)晶。窺一斑而知全豹,中華文化強大的向心力和凝聚力,極大的包容性和整合力,可以通過四靈文化表現(xiàn)出來。
[Abstract]:"Four" the whole or individual often appear in Chinese ancient buildings, sculpture, mural, dress, appeared in China's ancient cultural classics and archaeology, appeared in the legend of Chinese myth and Buddhism, Taoism, in ancient Chinese artifacts ware, study and interpretation of "four". Not only related to the traditional culture of reading and understanding, but also can enhance the people of all countries to recognize and understand our. Along with the Chinese nation to strengthen in the world and the rise of cultural exchanges between China and foreign countries, China traditional culture in the world attracts more and more attention in our hitherto unknown, and explore the inheritance of ancient Chinese excellent traditional culture in the process of foreign cultural exchanges, will inevitably encounter some urgent problems need to answer, especially some deep relates to national spirit of national psychology and cultural phenomenon, the "four" culture is an important content of "four" culture not only involves a wide range, but also closely related to our national psychology, national spirit and deep cultural explanation, such as the Chinese nation why the dragon as a symbol of what means? The Chinese dragon? "Four" combined process? What special meaning? And what is the relationship between our national character? "Dragon and phoenix" dragon and Phoenix. What often and auspicious together? What is the basic philosophy behind the Chinese? Why do you like the dragon and Phoenix and in their name? Have a strong interest in probing these problems not only Chinese, more and more foreigners feel very good in understanding and interpretation of qi. Therefore, it has important academic value and practical significance of their culture, so that we can have a better understanding of China ancient history, customs, political system, national religion, can better research related to the content of our national spirit and national psychology deeply, better inherit and spread the excellent Chinese traditional culture, rich humanistic spirit Chinese, at the same time, to enhance national aesthetic consciousness and national cohesion, and promote the traditional culture, we should strengthen cultural exchanges, it also plays an important role. This paper combined with previous research results and archaeological finds, on the basis of previous studies, using the method of vertical and horizontal research combined, using the double evidence law advocated by Wang Guowei, through history, in various historical stages of their latitude, combining literature and unearthed data. Method of combining the summary by deduction and synthesis, case study and theory, using literature, archaeology, literature, history, philology, ethnology, cultural studies and other disciplines in the field of theory and method, comprehensive research on their. The main part of the thesis is five chapters, which has an introduction and a conclusion. The first from the "four", "time four times and the formation of knowledge background," four "combination of the historical process of the three aspects of the" four "background and formation process of the Han Dynasty, secondly based on their development and their alienation," four "of the concept of the definition and definition. At the end of the research status and significance of four are discussed, reviewed the "four" culture and domestic and international research of "four" or "four" cultural achievements: find the weak link in the study of the four cultural or academic blank, determine the focus and direction for writing; introduces the research methods and research this paper introduces the structure of meaning. The first chapter makes a relatively complete combing of dragon's archetype, the cultural image of the dragon and the evolution process of the dragon in different historical stages from the prehistory to the Three Kingdoms period. Firstly, combined with the analysis of the pre Qin literature of Wei Yuan Dragon, Jiang Jiao dragon and Yao Shunyu "Chinese" Yue dragon, dragon, dragon three wells, summed up the ecological characteristics and distribution of the dragon, the dragon is a research prototype of Chinese alligator. Secondly, the history as the clue, combs from the pre Qin to the image and different cultural evolution process: the cultural image of the Dragon Three Kingdoms period before the Han Dynasty dragon, is fierce and the scourge of the supernatural, between heaven and earth earth realms of fetish, a man of God can object to ride. Taking Sima Qian's "historical records" as the center, this paper analyzes the cultural images of the Han Dynasty dragon, and focuses on the cultural connotation of Sima Qian in the historical records. First of all, Qin Shihuang Liu Bang by the Dragon Yu compared, decided that Qin Shihuang was the first to be likened to the Dragon King, and Liu Bang will be compared to the dragon, is the use of a series of metaphors formed a dragon system. Through a series of legends, the reason and purpose of Sima Qian's analogy to Jackie Chan are explored. It's based on the need of legitimacy and legitimacy of Han regime. Meanwhile, Sima Qian's idea of destiny and historical view has important ideological value in the development and evolution of Chinese dragon culture. It's also based on the legend of Liu Bang. In the "Han", a symbol of the black dragon Huanglong peace and prosperity, is a sign of disaster plagues, wells of the dragon is a symbol of natural calamities and man-made misfortunes. "Changed the cultural meaning of Han" dragon, dragon metaphor from another myth to self myth, hero Jun Jie, literary scholar also known as the dragon, the dragon's name or the dragon as the common people surname began to appear, the Dragon began to rain seasons with competent duties. The second chapter discusses the cultural image and animal prototype of Han Qian Feng. Taking history as a clue, combined with the analysis of pre Qin literature, combing the different cultural images and evolution process of Feng from pre Qin to Han Dynasty, we discussed Phoenix as the symbol of the world's Qingming and Xianghe, reflecting the idea of "harmony between man and nature" and "heaven and man's induction". Research on the prototype of the Phoenix is most likely as a peacock, phoenix worship, is the result of cultural exchange and dissemination. A key
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：G122
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本文編號：1339206