目錄
叢書序
上編 考古新發(fā)現(xiàn)秦漢時(shí)期簡(jiǎn)牘銘刻文獻(xiàn)資料與秦漢文學(xué)研究
緒論 2
第一章 北京大學(xué)藏秦簡(jiǎn)《公子從軍》與“秦文學(xué)”研究的新探索 3
第一節(jié) 問(wèn)題的緣起及研究的意義 4
第二節(jié) 《公子從軍》簡(jiǎn)文釋文與編連及敘述特點(diǎn) 6
一、《公子從軍》簡(jiǎn)文原釋文、編連和分段 6
二、《公子從軍》原編連和分段的調(diào)整及基本內(nèi)容釋讀 8
三、《公子從軍》以“牽”為敘述主體的第一人稱敘述特點(diǎn) 10
第三節(jié) 《公子從軍》文學(xué)意義上的思考和估量 11
一、《公子從軍》最有可能是一封私記性質(zhì)的書信 11
二、《公子從軍》實(shí)乃以私記之名而行“悲書”之實(shí) 13
三、《公子從軍》“為此悲書”所反映的文本創(chuàng)作實(shí)踐活動(dòng) 15
四、《公子從軍》文本創(chuàng)作實(shí)踐活動(dòng)導(dǎo)致其文學(xué)價(jià)值的確立 16
第四節(jié) 《公子從軍》在文學(xué)發(fā)展史上的意義和價(jià)值 19
一、《公子從軍》“為此悲書”之“悲書”或具文體學(xué)價(jià)值 19
二、《公子從軍》女性書寫與敘述或具文學(xué)發(fā)展史意義上的價(jià)值 20
第五節(jié) 結(jié)論：彌補(bǔ)了“公元前3世紀(jì)20年代前后秦文學(xué)”研究的不足 22
第二章 秦漢簡(jiǎn)牘文獻(xiàn)所涉女性內(nèi)容與女性文學(xué)生態(tài)問(wèn)題的新觀察 23
第一節(jié) 問(wèn)題的緣起及研究的意義 24
第二節(jié) 《公子從軍》與公元前3世紀(jì)20年代前后女性生活情況考察 26
一、《公子從軍》透露出秦漢時(shí)期“軍市”情況及“嫠女”信息 26
二、《公子從軍》女主人公對(duì)社會(huì)經(jīng)濟(jì)活動(dòng)具有很高的熟悉程度 28
三、《公子從軍》女主人公在文學(xué)生態(tài)研究中定性評(píng)價(jià) 30
第三節(jié) 張家山漢簡(jiǎn)《奏讞書》案例與漢初女性情感生活情況考察 31
一、《奏讞書》“臨葘獄史闌”“杜瀘女子”簡(jiǎn)文釋文與案情內(nèi)容 31
二、《奏讞書》“臨葘獄史闌”案件是發(fā)生在大背景下的愛情悲劇 34
三、《奏讞書》“杜瀘女子”案例的本質(zhì)是情與禮的矛盾 36
四、《奏讞書》“臨葘獄史闌”“杜瀘女子”案例史料學(xué)意義和價(jià)值 38
第四節(jié) 居延漢簡(jiǎn)案例與漢代西北地域女性社會(huì)地位和權(quán)利考察 41
一、居延漢簡(jiǎn)“男子張宗責(zé)居延甲渠收虜長(zhǎng)趙宣”中女主人公的經(jīng)濟(jì)糾紛 42
二、居延新簡(jiǎn)《女子齊通耐所責(zé)秦恭鼓事》女主人公的訴訟主體地位 43
第五節(jié) 結(jié)論：展現(xiàn)了秦漢時(shí)期多階層已婚婦女的群體形象 46
第三章 漢鏡銘文與漢代詩(shī)歌散文研究的新視野 48
第一節(jié) 學(xué)術(shù)史回顧及研究的意義 48
第二節(jié) 漢鏡銘文私人訂制現(xiàn)象與詩(shī)（文）畫互釋藝術(shù)格局的形成 51
一、私人訂制現(xiàn)象的出現(xiàn)與銘文創(chuàng)作個(gè)性化和藝術(shù)化發(fā)展 51
二、兩漢時(shí)期銅鏡紋飾趨于復(fù)雜的演變態(tài)勢(shì)與銘文的聯(lián)系 55
三、漢鏡紋飾趨于復(fù)雜的演變與詩(shī)（文）畫互釋藝術(shù)格局的形成 58
第三節(jié) 漢鏡銘文七言鏡歌在七言詩(shī)起源研究中的意義 61
一、漢鏡銘文七言鏡歌具備七言詩(shī)的基本特征 61
二、漢鏡銘文七言鏡歌中“七言”帶有文體學(xué)意義 64
三、漢鏡銘文七言鏡歌構(gòu)成了七言詩(shī)演變重要環(huán)節(jié) 67
四、漢鏡銘文七言鏡歌可能源于早期的祝語(yǔ)或嘏辭 67
第四節(jié) 漢墓銅鏡隨葬情況考察與漢鏡銘文流行學(xué)分析 70
一、魯中南地區(qū)8個(gè)漢墓群銅鏡隨葬情況考察 70
二、魯中南地區(qū)8個(gè)漢墓群隨葬無(wú)銘文鏡、銘文鏡及素面或銘文不清鏡的考察 76
三、魯中南地區(qū)8個(gè)漢墓群有銅鏡隨葬墓中隨葬者性別情況考察 79
四、魯中南地區(qū)8個(gè)漢墓群銅鏡擁有及銘文鏡歌接受情況總結(jié) 81
第五節(jié) 著名漢鏡銘文考釋與文學(xué)特點(diǎn)分析 83
一、漢鏡“相思毋忘”銘文擬人象征藝術(shù)手法的精巧運(yùn)用 84
二、漢鏡“宜佳人鏡”銘文首創(chuàng)者所表現(xiàn)出的極高文學(xué)水準(zhǔn) 85
三、漢鏡“大哉孔子志”銘文對(duì)漢代散文研究視野的拓展 86
四、漢鏡“昭明精白”銘文因鏡設(shè)詞特點(diǎn)與隱晦纏綿風(fēng)格 94
五、漢鏡“君忘忘”銘文“愛使心臾耆”考釋與題旨辨析 102
第六節(jié) 結(jié)論：為傳統(tǒng)漢代詩(shī)歌散文研究開辟了新的視野 110
本章附錄 111
一、供研究的12類49則七言鏡銘 111
二、供研究的16類40則以七言句式為主間以其他句式的雜言體鏡銘 115
第四章 漢墓碑文及畫像題記與漢代文學(xué)研究的新補(bǔ)充 120
第一節(jié) 墓志墓銘畫像題記辨析與學(xué)術(shù)史回顧 121
第二節(jié) 漢墓碑文展示了漢代散文研究值得關(guān)注的思想內(nèi)容和藝術(shù)情趣 126
一、“群體性敘述”是漢墓碑文敘事意義上的主要特點(diǎn) 127
二、漢墓碑文“群體性敘述”中“群體性價(jià)值觀”認(rèn)同情況考察 134
三、漢墓碑文“群體性敘述”所反映的官僚階層政治觀和價(jià)值觀 143
四、漢墓碑文“群體性敘述”依托于儀式功能所形成的藝術(shù)特點(diǎn) 147
第三節(jié) 考古新發(fā)現(xiàn)的著名漢畫像題記考釋與藝術(shù)特點(diǎn)分析 150
一、敘述樸實(shí)情感細(xì)膩關(guān)懷備至溫暖動(dòng)情的抒情散文 151
二、構(gòu)思巧妙情感濃烈且又不失幽默風(fēng)趣的散文小品 153
三、句式整齊情感哀傷用詞準(zhǔn)確敘述流暢的抒情小賦 154
四、言辭懇切情懷哀怨名為“歸來(lái)”的騷體招魂詩(shī)歌 157
五、結(jié)句靈活韻律諧和且刻畫準(zhǔn)確的民謠風(fēng)格送親歌 160
六、藉由民間“私詛”并以“毒言”為形式的詛祝文 173
第四節(jié) 結(jié)論：拓展了漢代散文與詩(shī)歌研究的視域和價(jià)值 177
本章附錄 178
一、供研究的漢代祠堂、石闕、石表畫像題記 178
二、山東蒼山城前村元嘉元年畫像石墓部分畫像 180
第五章 漢墓告地策及陶瓶朱書與漢晉小說(shuō)研究的新啟示 182
第一節(jié) 問(wèn)題的緣起及研究的意義 183
第二節(jié) 告地策與陶瓶朱書文本形式及內(nèi)容特點(diǎn) 186
一、告地策與陶瓶朱書文本實(shí)例及陶瓶朱書名稱的厘定與疑問(wèn) 187
二、陶瓶朱書解移殃咎的性質(zhì)與政府文書的形式特征 189
三、告地策及陶瓶朱書在內(nèi)容與行文特點(diǎn)上的比較研究 194
第三節(jié) 告地策與陶瓶朱書反映了生命信仰和生死觀的新變 200
一、漢及漢以前生命信仰和生死觀問(wèn)題的省思與意見 201
二、告地策與陶瓶朱書的補(bǔ)充和啟示 207
第四節(jié) 告地策及陶瓶朱書與冥婚和仙解類型小說(shuō)創(chuàng)作 212
一、洛陽(yáng)李屯陶瓶朱書及駱駝城木牘與東漢時(shí)期冥婚小說(shuō)創(chuàng)作 212
二、湖南長(zhǎng)沙市東牌樓覃超人形木牘與東漢時(shí)期仙解小說(shuō)創(chuàng)作 218
第五節(jié) 生命信仰和生死觀新變與復(fù)活類型志怪小說(shuō)發(fā)展演變 223
一、秦簡(jiǎn)《墓主記》與《山海經(jīng)》“窫窳復(fù)活”神話比較研究 224
二、秦簡(jiǎn)《墓主記》與《莊子·至樂(lè)》“髑髏復(fù)活”故事比較研究 227
三、秦簡(jiǎn)《墓主記》與《搜神記》復(fù)活故事比較研究 229
第六節(jié) 結(jié)論：彌補(bǔ)了秦漢魏晉復(fù)活類型志怪小說(shuō)演變的缺環(huán) 232
本章附錄 233
一、供研究的告地策文本形式 233
二、供研究的陶瓶朱書文本形式 235
第六章 尹灣漢墓竹簡(jiǎn)《神烏賦》與漢賦研究的新突破 238
第一節(jié) 學(xué)術(shù)史回顧與問(wèn)題的提出及研究的意義 238
第二節(jié) 《神烏賦》與《燕子賦》比較研究 241
一、《神烏賦》釋文及學(xué)術(shù)界對(duì)其文本內(nèi)容和價(jià)值的認(rèn)識(shí) 241
二、《神烏賦》與曹植《鷂雀賦》及敦煌本《燕子賦》異同 243
第三節(jié) 《神烏賦》悲劇形象的確立與悲劇意義的生成 245
一、《神烏賦》最重要的思想價(jià)值是申明了“公義”的重要性 246
二、《神烏賦》最重要的審美價(jià)值是確立了悲劇意義 247
三、《神烏賦》的悲劇形象帶有平民或世俗的特點(diǎn)和色彩 248
第四節(jié) 《神烏賦》敘述空間的轉(zhuǎn)換與賦文構(gòu)文形式 250
一、從“敘述空間”的層疊與轉(zhuǎn)換看《神烏賦》敘述特點(diǎn) 251
二、從故事后續(xù)部分的性質(zhì)和特點(diǎn)看《神烏賦》構(gòu)文形式 253
第五節(jié) 結(jié)論：成功塑造了因維護(hù)私產(chǎn)而獻(xiàn)身的“雌烏”形象 254
本章附錄 255
一、曹植《鷂雀賦》 255
二、敦煌本《燕子賦》（以四言為主的一種） 256
下編 考古新發(fā)現(xiàn)漢畫像圖像文獻(xiàn)資料與漢代文學(xué)研究
緒論 260
第七章 漢畫像樂(lè)舞百戲畫像與漢代戲劇說(shuō)唱文學(xué)研究的新進(jìn)展（一）——漢畫像所反映的漢代莊園樂(lè)舞百戲及巾舞長(zhǎng)袖舞存在形態(tài) 261
第一節(jié) 學(xué)術(shù)史回顧與研究的意義 262
第二節(jié) 漢畫像所反映的漢代莊園生活中的樂(lè)舞百戲 263
一、樂(lè)舞百戲由皇家走入民間的發(fā)展與演變歷程 263
二、樂(lè)舞百戲是漢代莊園生活中最受歡迎的表演形式 269
第三節(jié) 漢畫像所反映的漢代莊園樂(lè)舞百戲存在形態(tài) 273
一、《平樂(lè)觀賦》與《西京賦》中的皇家百戲 273
二、漢畫像所表現(xiàn)的莊園生活中的樂(lè)舞百戲 275
三、小型化是漢代莊園樂(lè)舞百戲的重要特征 277
第四節(jié) 漢代莊園樂(lè)舞百戲中巾舞和長(zhǎng)袖舞存在形態(tài) 280
一、巾舞與伴唱、抃歌、稽戲相組合的表演形式 281
二、長(zhǎng)袖舞與抃歌、稽戲相組合的表演形式 285
第五節(jié) 結(jié)論：舞蹈與伴唱抃歌稽戲相組合表演形式蘊(yùn)含著戲劇因素 293
本章附錄 294
一、供研究的16幅樂(lè)舞百戲畫像資料 294
二、供研究的134幅樂(lè)舞百戲畫像出處情況 296
三、供研究的134幅樂(lè)舞百戲畫像年代、載體性質(zhì)和構(gòu)圖情況 299
四、供研究的12幅漢畫像巾舞畫面構(gòu)圖及圖片來(lái)源情況 305
第八章 漢畫像樂(lè)舞百戲畫像與漢代戲劇說(shuō)唱文學(xué)研究的新進(jìn)展（二）——巾舞稽戲抃歌相組合的演變態(tài)勢(shì)與歌舞戲早期形態(tài)考察 307
第一節(jié) 學(xué)術(shù)史回顧與問(wèn)題的提出及研究的意義 307
第二節(jié) 歌舞戲早期形態(tài)可能在東漢中晚期河南南陽(yáng)地區(qū)出現(xiàn) 308
一、四川漢墓滑稽說(shuō)唱俑稽戲表演形式帶有戲劇表演特征 309
二、南陽(yáng)漢畫像稽戲表演形式呈現(xiàn)出戲劇性表演特點(diǎn) 310
三、南陽(yáng)漢畫像巾舞、稽戲、抃歌組合表演形式為戲劇敘述創(chuàng)造了條件 311
四、南陽(yáng)戲樓獨(dú)特的舞臺(tái)構(gòu)造為戲劇表演創(chuàng)造了條件 313
第三節(jié) 漢畫像及相關(guān)考古資料不能支持“西漢歌舞劇”意見 315
一、西漢時(shí)期的巾舞長(zhǎng)袖舞還停留在單純舞蹈表演階段 315
二、西漢時(shí)期民間俗戲還停留在“相戲樂(lè)”的簡(jiǎn)單表演階段 316
三、西漢時(shí)期樂(lè)舞百戲尚沒有出現(xiàn)歌舞戲早期形態(tài) 317
第四節(jié) 結(jié)論：歌舞戲早期形態(tài)或已在東漢中晚期出現(xiàn) 319
第九章 漢畫像樂(lè)舞百戲畫像與漢代戲劇說(shuō)唱文學(xué)研究的新進(jìn)展（三）——作為巾舞歌辭的樂(lè)府古辭《巾舞歌詩(shī)》研究 320
第一節(jié) 學(xué)術(shù)史回顧與問(wèn)題的提出 321
第二節(jié) 樂(lè)府古辭《巾舞歌詩(shī)》聲辭析出、校釋及釋讀 327
一、《巾舞歌詩(shī)》句讀、分解與聲辭析出 327
二、《巾舞歌詩(shī)》校釋 330
三、《巾舞歌詩(shī)》釋讀 333
第三節(jié) 樂(lè)府古辭《巾舞歌詩(shī)》藝術(shù)特點(diǎn)分析 335
一、主唱、伴唱、應(yīng)和相結(jié)合是《巾舞歌詩(shī)》表演上的特色 335
二、行文上的“三段式”是《巾舞歌詩(shī)》文本構(gòu)成上的重要特征 337
三、與漢時(shí)“公莫舞”存在關(guān)聯(lián)是《巾舞歌詩(shī)》內(nèi)容上的特點(diǎn) 337
第四節(jié) 結(jié)論：《巾舞歌詩(shī)》“西漢歌舞劇腳本”結(jié)論尚需斟酌 342
第十章 漢畫像樂(lè)舞百戲畫像與漢代戲劇說(shuō)唱文學(xué)研究的新進(jìn)展（四）——考古發(fā)現(xiàn)視覺及實(shí)物資料與漢代說(shuō)唱文學(xué)的互證與補(bǔ)充 343
第一節(jié) 問(wèn)題的緣起及研究的意義與方法 344
第二節(jié) 漢畫像及其他考古資料所反映的漢代說(shuō)唱表演形式 345
一、漢墓出土說(shuō)唱俑所承載的說(shuō)唱表演形式 345
二、漢畫像樂(lè)舞百戲畫像構(gòu)圖所反映的說(shuō)唱表演形式 347
三、山東諸城前涼臺(tái)漢墓畫像獨(dú)角戲式說(shuō)唱表演形式 349
四、四川漢墓搖錢樹枝圖案二人互動(dòng)式說(shuō)唱表演形式 351
第三節(jié) 漢畫像及其他考古資料與文獻(xiàn)資料的互證與補(bǔ)充 355
一、漢畫像及其他考古資料所反映的說(shuō)唱表演形式類型與特點(diǎn) 355
二、傳世文獻(xiàn)所載“俳優(yōu)侏儒”表演情況考察與特點(diǎn)分析 357
三、漢畫像及其他考古資料與傳世文獻(xiàn)載記資料的互證與補(bǔ)充 359
第四節(jié) 漢代說(shuō)唱文學(xué)文本考釋與藝術(shù)表演特點(diǎn)考察 361
一、戴良《失父零丁》與獨(dú)角戲式說(shuō)唱表演 361
二、古辭《俳歌辭》與樂(lè)舞百戲“侏儒導(dǎo)”說(shuō)唱表演 364
三、碑歌《慷慨歌》與模擬“優(yōu)孟見楚王”說(shuō)唱表演 371
第五節(jié) 結(jié)論與思考 374
一、關(guān)于漢代說(shuō)唱表演與說(shuō)唱文學(xué)類型與特點(diǎn)的總結(jié) 374
二、關(guān)于唐宋以來(lái)古代說(shuō)唱藝術(shù)發(fā)展史意義上的思考 375
第十一章 漢畫像歷史故事畫像與漢代文學(xué)研究的新發(fā)現(xiàn)（一）——漢代文學(xué)研究被忽視的內(nèi)容 377
第一節(jié) 學(xué)術(shù)史回顧與問(wèn)題的提出及研究的意義 377
第二節(jié) 漢畫像歷史故事畫像地域存在情況考察 380
一、漢畫像歷史故事畫像存在情況及地域背景情況考察 380
二、漢畫像歷史故事畫像載體性質(zhì)與題材類別及題旨情況考察 387
第三節(jié) 漢畫像歷史故事畫像與相關(guān)歷史故事地域傳播情況總結(jié) 398
一、歷史故事畫像與歷史故事存在關(guān)聯(lián)性的理?yè)?jù)分析 399
二、畫像構(gòu)圖意義上的歷史故事地域傳播情況的總結(jié) 400
第四節(jié) 結(jié)論：歷史故事的圖像敘述豐富了漢代文學(xué)內(nèi)容 405
本章附錄 供研究的222份漢畫像歷史故事畫像資料出處 406
一、漢畫像石歷史故事題材畫像 406
二、漢畫像磚歷史故事題材畫像 413
第十二章 漢畫像歷史故事畫像與漢代文學(xué)研究的新發(fā)現(xiàn)（二）——借助“孔子問(wèn)學(xué)”畫像構(gòu)圖所發(fā)現(xiàn)的文學(xué)現(xiàn)象 414
第一節(jié) 文獻(xiàn)資料梳理與研究的意義 414
第二節(jié) 傳世文獻(xiàn)“孔子問(wèn)學(xué)”歷史敘事類型與特點(diǎn) 416
一、傳世文獻(xiàn)“孔子問(wèn)學(xué)”敘事類型與特點(diǎn)辨析 416
二、傳世文獻(xiàn)“孔子問(wèn)學(xué)”歷史敘事相關(guān)問(wèn)題考辨 417
第三節(jié) 漢畫像“孔子問(wèn)學(xué)”畫像圖像敘事類型與特點(diǎn) 420
一、漢畫像“孔子問(wèn)學(xué)”畫像人物關(guān)系敘述類型與特點(diǎn) 420
二、漢畫像與傳世文獻(xiàn)比較研究中的歷史敘事與歷史故事 426
第四節(jié) 漢畫像“孔子問(wèn)學(xué)”修飾性構(gòu)圖元素與流行學(xué)分析 430
一、漢畫像“孔子問(wèn)學(xué)”畫像修飾性構(gòu)圖元素的考察 430
二、漢畫像“孔子問(wèn)學(xué)”畫像修飾性構(gòu)圖元素流行學(xué)分析 435
第五節(jié) 結(jié)論：傳統(tǒng)歷史故事研究中被遮蔽的文學(xué)現(xiàn)象 439
本章附錄 供研究的30份漢畫像“孔子問(wèn)學(xué)”畫像資料 440
第十三章 漢畫像歷史故事畫像與漢代文學(xué)研究的新發(fā)現(xiàn)（三）——“荊軻刺秦王”畫像與傳世文獻(xiàn)不同的故事情節(jié) 448
第一節(jié) 文獻(xiàn)與畫像材料梳理及問(wèn)題的緣起 449
第二節(jié) “荊軻刺秦王”畫像構(gòu)圖內(nèi)容與文獻(xiàn)資料存在差異 450
一、“荊軻刺秦王”畫像構(gòu)圖與文獻(xiàn)記載存在差異 450
二、“荊軻刺秦王”畫像構(gòu)圖反映了不同的情節(jié)內(nèi)容 454
第三節(jié) “荊軻刺秦王”畫像揭示了歷史故事的另一種情節(jié) 458
一、畫像差異點(diǎn)的意義和價(jià)值超越了畫像自身的圖像敘述 458
二、畫像圖像敘述形式成功于歷史與文學(xué)敘述的巧妙結(jié)合 462
第四節(jié) 結(jié)論：畫像構(gòu)圖所反映的故事情節(jié)超出了已知認(rèn)知經(jīng)驗(yàn) 465
本章附錄 供研究的15份漢畫像“荊軻刺秦王”畫像資料 465
第十四章 漢畫像歷史故事畫像與漢代文學(xué)研究的新發(fā)現(xiàn)（四）——傳統(tǒng)漢代文學(xué)研究不曾關(guān)注的文學(xué)傳播手段 471
第一節(jié) 問(wèn)題的緣起及研究的理念與意義 471
第二節(jié) 海寧“荊軻刺秦王”畫像“情境表演”性質(zhì)討論 477
一、從前室東壁畫像敘述模塊看“荊軻刺秦王”畫像表演性質(zhì) 477
二、從前室四壁畫像與載體關(guān)系看“荊軻刺秦王”畫像表演性質(zhì) 479
第三節(jié) 南陽(yáng)“撈鼎”“升鼎”畫像“情境表演”性質(zhì)討論 481
一、河南新陽(yáng)“撈鼎”“升鼎”畫像帶有儀式性特點(diǎn) 481
二、河南南陽(yáng)畫像儀式性特點(diǎn)帶有樂(lè)舞百戲表演性質(zhì) 485
第四節(jié) 結(jié)論：傳統(tǒng)歷史故事借助表演形式而獲得新的發(fā)展和流傳 488
本章附錄 供研究的16幅漢畫像“撈鼎”“升鼎”畫像 489
參考文獻(xiàn) 495
附錄 501
后記 503
Contents
Collection preface
Volume I New Findings in the Documents Inscribed on Qin and Han Bamboo Slips and New Studies on the Literary Works in Qin and Han Dynasties
Foreword 2
Chapter 1 My Enlisted Husband and the New Study on the Literary Works of Qin Dynasty 3
Section 1 Introduction 4
Section 2 Introduction of My Enlisted Husband 6
1. Original Text Structure and its Interpretation 6
2. Re-editing and Reinterpretation of the Text 8
3. Characteristics of First-person Narration 10
Section 3 Literary Merits of My Enlisted Husband 11
1. Letter about Private Life 11
2. “Book of Tragedy” 13
3. Practical Activities of Text Creation 15
4. Practical Activities of Text Creation and the Literary Merits of My Enlisted Husband 16
Section 4 Meaning and Merit in the History of Literature Development 19
1. Stylistic Value in “Book of Tragedy” 19
2. Value of Women Writers in History of Literary Development 20
Section 5 Conclusion: Making Up for Limited Studies of the Literature around Qin Dynasty in 220s BC 22
Chapter 2 Findings on the Issues for Women and Women Literary Ecology Concerned on the Bamboo Slips of Qin and Han Dynasties 23
Section 1 Introduction 24
Section 2 Observation of the Life of Women around the 220s BC and in My Enlisted Husband 26
1. Military Market and Widows in Qin and Han Dynasties 26
2. Highly Familiar with the Economic Activities at That Time 28
3. Qualitative Comments on the Married Women Concerned in the Literary Ecology 30
Section 3 Cases in Submitted Report on Trial, Zhangjiashan Bamboo Slips of Han Dynasty and Women’s Lives and Emotions in Early Tang Dynasty 31
1. Introduction of Lan, Warder in Linzi and A Woman in Dulu County 31
2. Lan, Warder in Linzi, Love Tragedy under that Background 34
3. Nature of A Woman in Dulu County: Contradiction between Love and Etiquette 36
4. Historical Significance and Value of these Two Cases 38
Section 4 Cases in Juyan Bamboo Slips of Han Dynasty and Women’s Social Status and Rights in the Northwest China in Han Dynasty 41
1. Financial Disputes in Horse Trading Story 42
2. Legal Actions in Drum Incident 43
Section 5 Conclusion: Group Image of Married Women at All Walks of Life in Qinand Han Dynasties 46
Chapter 3 New Findings on the Inscriptions on Han Mirror, Poetry and Prose of Han Dynasty 48
Section 1 Introduction 48
Section 2 Customized Inscription on Han Mirror and Mutual Interpretation of Poetry (Character) and Painting 51
1. Customized Inscription and the Development of Individualized and Artistic Inscription Creation 51
2. Links between the Increasingly Complex Symbol Pattern and the Inscription on Bronze Mirror 55
3. Increasingly Intricate Symbol Patterns and Mutual Interpretation of Poetry (Character) and Painting 58
Section 3 Significance of Seven-character Poems Inscribed on the Bronze Mirrors for the Evolution of Seven-character Poems 61
1. Basic Characteristics of Seven-character Poems Inscribed on the Bronze Mirrors 61
2. Stylistic Value of “Seven-character” Poems 64
3. Prominent Role of the Inscribed Seven-character Poems in the Evolution of Seven-character Poems 67
4. Origin of the Inscribed Seven-character Poems from the Prayers at Ancient Sacrificial Rites 67
Section 4 Study on the Funerary Bronze Mirrors in Han Tombs and Prevalence Analysis of Inscriptions on Han Mirrors 70
1. Funerary Bronze Mirrors in 8 Han Tombs in Mid-Southern Shandong Province 70
2. Different Categories of the Funerary Bronze Mirrors 76
3. Gender of the Bodies in the Tombs with Funerary Bronze Mirrors 79
4. Overall Condition of Burial Bronze Mirrors and Poems Inscribed on the Mirrors 81
Section 5 Analysis of Well-known Inscriptions on Han Mirrors and its Literary Features 83
1. Application of Personification in the Inscription of “Miss and keep in Mind” 84
2. High Literary Accomplishments Displayed in the Inscription of “Made for Beauty” 85
3. Prose in Han Dynasty and Inscription of “Great Confucius” 86
4. Characteristics of Inscription on the Clear and Bright Mirror 94
5. Interpretation of the Inscription of “You Forgot” 102
Section 6 Conclusion: Opening New Visions of the Study on Traditional Poetry and Prose of Han Dynasty 110
Appendix 111
1. 49 Poems Inscribed in Bronze Mirrors, Mainly Seven-character Poems 111
2. 40 Miscellaneous Poems Inscribed in Bronze Mirrors 115
Chapter 4 Han Tombstone Inscription and Prefatory Inscription of Portrait and the New Findings on the Literature of Han Dynasty 120
Section 1 Epitaph, Tombstone Inscription and Prefatory Inscription of Portrait 121
Section 2 Themes and Artistic Taste of the Prose in Han Dynasty 126
1. Main Characteristic of collective memory on Tombstone 127
2. Public Value in the Tombstone Inscription 134
3. Politics and Values of Bureaucracy 143
4. Artistic Characteristics Displayed by the Ritual Function 147
Section 3 Analysis of Well-known Prefatory Inscriptions of Portrait and its Artistic Features 150
1. Lyric Prose with Direct Narration and Sincere Feeling 151
2. Essay with Strong Emotion, Well-designed Structure and Sense of Humor 153
3. Lyric Xiaofu with Tide Structure and Accurate Words 154
4. Sao-style Summoning Poetry with Sincere Words and Theme of “Come Back” 157
5. Folk Wedding Song with Vivid Depiction and Harmonic Rhythm 160
6. Essay of Cursed Words in Form of Secret Curses and Harsh Language 173
Section 4 Conclusion: Extending Areas and Values of the Study on Poetry and Prose of Han Dynasty 177
Appendix 178
1. Inscription on Ancestral Hall, Stela and Prefatory Inscriptions of Portrait on Stone 178
2. Portraits in Tomb Built in the First Year of Yuanjia in Shandong 180
Chapter 5 New Findings on the Introduction of Tomb Owner, the Red Letter on Porcelain Bottle and Novel in Han and Jin Dynasties 182
Section 1 Introduction 183
Section 2 Content and Text Type of the Introduction of Tomb Owner, Red Letter on Porcelain Bottle 186
1. Analysis of the Texts and the Title of the Red Letter on Porcelain Bottle 187
2. Text Function as Text of Removing Disaster and Government Documents 189
3. Comparison between the Language and Content of the Two Texts 194
Section 3 Changes of Faith and View of Life 200
1. Faith and View of Life in Han Dynasty and Before 201
2. Inspiration of Introduction of Tomb Owner, Red Letter on Porcelain Bottle 207
Section 4 Creation of Novels about Posthumous Marriage and Ascended Immortal 212
1. Red Letter on Porcelain Bottle in Henan, Wooden Slips in Gansu and Creation of Novels about Posthumous Marriage in Eastern Han Dynasty 212
2. Human-shaped Wooden Slips in Hunan and Creation of Novels about Ascended Immortal 218
Section 5 Changes of Faith and View of Life and Evolution of Mysterious Novel Related to Resurrection 223
1. Comparison between Story of Tomb Owner on Qin Bamboo Slips and Resurrection of Ya Yu in Classic of Mountains and Seas 224
2. Comparison between Story of Tomb Owner on Qin Bamboo Slips and The Talking Skull in Zhuangzi 227
3. Comparison between Story of Tomb Owner on Qin Bamboo Slips and Li E, Jia Wenhe in In Search of the Supernatural 229
Section 6 Conclusion: Improving the Study of Mythical Novels Related to Resurrection in Qin, Han, Wei and Jin Dynasties 232
Appendix 233
1. Texts of Introduction of Tomb Owner 233
2. Texts of Red Letter on Porcelain Bottle 235
Chapter 6 Fu on the Supernatural Crow in Yinwan Tomb of Han Dynasty and Breakthrough in the Study of Han Fu 238
Section 1 Introduction 238
Section 2 Comparison between the Fu on the Supernatural Crow and the Fu on the Sparrow of Dunhuang 241
1. Inscription of Fu on the Supernatural Crow and its Influence in Academic Circle 241
2. Comparison among Fu on the Supernatural Crow, Fu on the Hawk and the Sparrow and Fu on the Sparrow of Dunhuang 243
Section 3 Tragedy in Fu on the Supernatural Crow 245
1. Ideological Value?of Justice 246
2. Aesthetic Value and the Tragedy 247
3. Characteristics of Civilians or Secular Humanism 248
Section 4 Narration and Structure of Fu on the Supernatural Crow 250
1. Characteristics of Narrative Space of Fu on the Supernatural Crow 251
2. Storyline and Text Structure 253
Section 5 Conclusion: Success of Shaping the Image of the Female Crow Dedicated itself to Preserve its Private Property 254
Appendix 255
1. Cao Zhi’s Fu on the Hawk and the Sparrow 255
2. Fu on the sparrow of Dunhuang(Mainly four-character Poem) 256
Volume II New Findings on the Pictures of Han Dynasty and Study on Literary Works of Han
Foreword 260
Chapter 7 New Findings on Musical-Acrobatics Portrait and Shuochang Literaturein Han Dynasty I—Observation of the Musical-acrobatic Performance, Scarf Dancing and Long-sleeve Dancing 261
Section 1 Introduction 262
Section 2 Observation of Musical-acrobatic Performance in Han Dynasty 263
1. Development of Musical-acrobatic Performance from Imperial Palace to Ordinary Families 263
2. Musical-acrobatic Performance—the Most Popular Recreational Performance in the Courtyard of Han Dynasty 269
Section 3 Observation of the Musical-acrobatic Performance Forms from the Pictures of Han 273
1. Observation of the Imperial Musical-acrobatic Performance from Fu on the Pingle Palace and Fu on Xijing City 273
2. Observation of the Courtyard Musical-acrobatic Performance from the Pictures of Han 275
3. Small-scale—the Prominent Feature of the Courtyard Musical-acrobatic Performance 277
Section 4 Performance Forms of Scarf Dancing and Long-sleeve Dancing 280
1. Scarf Dancing with Singing, Clapping, and Comic Opera 281
2. Long-sleeve Dancing with Clapping and Comic Opera 285
Section 5 Conclusion: Dramatic Elements in the Performance 293
Appendix 294
1. Sixteen Pictures of Musical-acrobatic Performance 294
2. Sources of the 134 Pictures of Musical-acrobatic Performance 296
3. Introduction of the 134 Pictures of Musical-acrobatic Performance 299
4. Introduction of the 12 Pictures of Scarf-dancing 305
Chapter 8 New Findings in Musical-Acrobatics Portrait and Shuochang Literature in Han Dynasty Ⅱ—Observation of
the Performance of Sing-dancing-drama 307
Section 1 Introduction 307
Section 2 Earliest Form of Comic Opera with Singing-dancing-drama in Middle-late Han Dynasty 308
1. Dramatized Comic Opera—Observation of the Figurines in the Han Mausoleum 309
2. Dramatized Comic Opera—Observation of the Comic Opera Pictures of Han 310
3. Observation of the Dramatic Narration from the Pictures of Han 311
4. Observation of the Dramatic Performance from the Unique Stage Structure 313
Section 3 Counterviews on the New Findings 315
1. Performance of the Scarf Dancing and Long-sleeve Dancing in West Han Dynasty 315
2. Performance of the Folk Drama in West Han Dynasty 316
3. Performance of the Musical-Acrobatics in West Han Dynasty 317
Section 4 Conclusions: Early Performance of Singing-dancing-drama Appearing in Middle-late East Han Dynasty 319
Chapter 9 New Findings on Musical-Acrobatics Portrait and Shuochang Literature in Han Dynasty Ⅲ—Research on Song of Scarf Dancing 320
Section 1 Introduction 321
Section 2 Identifying, Proofreading, and Interpreting Words of Song of Scarf Dancing 327
1. Identifying the Words of Song of Scarf Dancing 327
2. Proofreading the Words of Song of Scarf Dancing 330
3. Interpreting the Words of Song of Scarf Dancing 333
Section 3 Appreciation of the Song of Scarf Dancing 335
1. Performance Forms of the Song of Scarf Dancing 335
2. Text Structure of the Song of Scarf Dancing 337
3. Content of the Song of Scarf Dancing and “Gong Mo Wu” 337
Section 4 Conclusion: Further Study about Song of Scarf Dancing Is Needed 342
Chapter 10 New Findings in Musical-Acrobatics Portrait and Shuochang
Literature in Han Dynasty Ⅳ—Visual and Object Materials for the Study of Shuochang Literature of Han 343
Section 1 Introduction 344
Section 2 Observation of Shuochang Performance from the Pictures of Han and other Materials 345
1. Observation of Shuochang Performance from the Figurines of Han 345
2. Observation of Shuochang Performance from the Musical-Acrobatics Portrait of Han 347
3. Observation of One-man Shuochang Performance from the Picture of Han in Shandong Province 349
4. Observation of Double-men Shuochang Performance from the Money-tree Picture of Han in Sichuan Province 351
Section 3 Analysis of the References 355
1. Performance Styles and Features of Shuochang 355
2. Observation of the Ancient Chinese Comedians Recorded in the References 357
3. Analysis of the References 359
Section 4 Scripts and Performance of Shuochang 361
1. Script of My Missing Father and One-man Shuochang 361
2. Script of Pai Ge Ci and the Performance of Zhu Ru Dao 364
3. Script of Kang Kai Ge and the Performance Style of“Youmeng’s Audience with King Chu” 371
Section 5 Conclusions and Summary 374
1. About Shuochang Performance and Shuochang Literature 374
2. Development of the Art of Shuochang after Tang and Song Dynasty 375
Chapter 11 Pictures of Han and New Findings on the Han Literature I
—New Angles of the Research on Han Literature 377
Section 1 Introduction 377
Section 2 Stories behind the Pictures and Geographical Distribution of the Pictures 380
1. Findings on the Historical References behind the Pictures of Han and the Geographical Distribution of the Pictures 380
2. Findings on the Historical References behind the Pictures and Their Themes 387
Section 3 Findings on the Historical References behind the Pictures and the Spread of Them 398
1. Analysis of the Relationship between the Pictures and the Historical References 399
2. Spread of the Historical References 400
Section 4 Conclusions 405
Appendix Sources of the 222 Pictures of Han for the Study 406
1. Historical story theme portrait from Pictures of Han 406
2. Historical story theme portrait from Pictures of Han’brick 413
Chapter 12 Pictures of Han and New Findings on Han Literature II—Literary Phenomenon in “Confucius Seeking for Knowledge” 414
Section 1 Introduction 414
Section 2 Ancient Documents of “Confucius Seeking for Knowledge” 416
1. Narration Styles of the Ancient Documents of “Confucius Seeking for Knowledge” 416
2. Historical Narratives of “Confucius Seeking for Knowledge” 417
Section 3 Pictures of “Confucius Seeking for Knowledge” 420
1. Relationships among the Figures in the Pictures 420
2. Historical Narratives of the Picture and Historical Stories in the Ancient Texts 426
Section 4 Decorative Compositions of the Pictures of “Confucius Seeking forKnowledge” and Fashion Studies on Them 430
1. Decorative Compositions of the Pictures 430
2. Fashion Studies on the Compositions of the Pictures 435
Section 5 Conclusions 439
Appendix 30 Han Pictures of “Confucius Seeking for Knowledge” 440
Chapter 13 Pictures of Han and New Findings on Han Literature III—the Pictures and the Ancient Texts about “Jing Ke Assassinating the King of Qin” 448
Section 1 Introduction 449
Section 2 Differences between the Pictures and the Ancient Texts about “Jing Ke Assassinating the King of Qin” 450
1. Compositions of the Pictures and the Ancient Texts 450
2. Differences in Story Telling between the Pictures and the Ancient Texts 454
Section 3 Stories Demonstrated in the Pictures of “Jing Ke Assassinating the King of Qin” 458
1. Value of the Differences in the Pictures of “Jing Ke Assassinating the King of Qin” 458
2. Combination of Images and Writing—the Success of Picture Narratives 462
Section 4 Conclusions 462
Appendix 15 Han Pictures of “Jing Ke Assassinating the King of Qin” 465
Chapter 14 Pictures of Han and New Findings on Han Literature IV—Literature Communication 471
Section 1 Introduction 471
Section 2 Nature of Picture of Jing Ke Assassinating the King of Qin 477
1. Images and Narratives 477
2. Images and the Scenes 479
Section 3 Picture of “Lao Ding” and Picture of “Sheng Ding” 481
1. Ceremony Illustrated by the Pictures 481
2. Musical-Acrobatics Illustrated by the Pictures 485
Section 4 Conclusion: Spread of Stories by Way of Performing 488
Appendix 16 Han Pictures of “Lao Ding” and “Sheng Ding” 489
References 495
Appendix 501
Postscript 503