新疆呼图壁县石门子墓地出土铜器的初步科学分析

本文对新疆呼图壁县石门子墓地出土的27件铜器进行了材质和制作工艺分析,初步探索了这一墓地所出铜器的技术特征。该墓地出土铜器材质以锡青铜为主,但制作马具时明显使用了更高质量的原材料;铜镞的材质却参差不齐,并出现含砷不高的铜器,表现出多样化的来源;器物制作采用了铸造和热锻两种工艺。本研究为深入揭示新疆公元前第一千纪青铜技术发展提供了新的科学依据。     

罗振玉“由金文以窥书契”的考释方法

罗振玉的《增订殷虚书契考释》是甲骨文研究史上里程碑式的杰作。该书立有560个字头,利用金文的字头有187个,一共引述金文293条次,其中仅言古金文或器物未摹字形者就有69条次,涉及到760个甲骨文形体的考释。罗振玉利用金文考释甲骨文的方法主要有:以金文偏旁或单字证甲骨文、利用金文通律证甲骨文、金文篆文比较以证甲骨文等。罗振玉在考释的同时,还通过甲金文的相互比照,探讨了文字发展演变中的分化、简化、繁化、讹变等现象,追溯了文字的初形初义,纠正了前人的一些错误。     

理想与现实的悖论:美国“熔炉论”神话的破灭——以匈牙利移民为中心

文章从实证的角度,探讨了19世纪末20世纪初美国社会转型时期,匈牙利移民的美国化进程,从一个侧面揭示了当时处于盛世的熔炉论在实践上作为神话的破灭过程。就其促成因素而言,其中既有美国白人的民族偏见与排斥,也有匈牙利移民对本民族文化难以割舍的情结,还有匈牙利政府为动员移民回国的努力等。诸多因素的合力作用,使匈牙利移民和其他外来移民群体一样,在适应美国社会生活方式的同时保留着本民族的特征,由此奠定了美利坚民族多元化发展的基础。     

两周金文并列连词初探

两周金文中能肯定用为并列连词者有“暨、及、雩、以、与、[虘又]（且）、而、兼、又、唯”十词。从用法看,这些词可分为三类。一类是“又”,主要连接整数和零数,多用于计时的场合;一类是“[虘又]（且）”,主要连接形容词,基本只见于四字韵文中;其余各词主要连接名词或名词性成分,表现出用法上的一致性。从出现频率看,除了“又”用例很多,“暨”略多见外,其他各词都很少见,表明两周金文中的并列连词尚处于形成发展的过程中。出现时间上,“暨、雩、以、又、唯”只见于或主要见于西周时期,“及”主要见于春秋时期,“且、而、与、兼”只见于东周时期,表现出较为明显的时间性差异。     

汉代铜镜铭文中的七言诗

汉代铜镜铭文中存在着不少七言诗。这些诗歌,不仅宋代以后的考古学著作时加收录,而且,明人已经将其编入汉代文集中。考察汉代铜镜铭文中的七言诗可以发现,不少诗歌句句押韵,其结构形式已相对固定,由此我们可以初步判定东汉以前七言诗已基本形成。     

倗季凤鸟尊器考

商周时期,中国步入青铜时代的巅峰,出现了大量国之重器,其工艺之精可谓世间罕见。收藏于保利艺术博物馆的众多青铜器中,一件形态特殊的器物受到了国内外的广泛关注,器上铸有清晰的"倗季"字样,涉及到文献未曾记载的倗国,与晋国出土的晋侯鸟尊较为相似,具有重要的研究价值。     

新出战国金文考释三则

对《商周金文资料通鉴》中著录的三件新出的战国铜器上的未释或误释铭文进行了考释,认为18851号器首字不为"衣",而是"黾"字;17301号器第三字阙释,我们认为应是"寍"字;17320号器首字,邹芙都先生考释为"玄舍"合文,我们结合战国兵器铭刻制度及字形变异特点,认为应改释为"舒"。     

六合程桥春秋三墓述议

自20世纪60年代中期至90年代初,江苏六合程桥先后发掘出三座春秋时期的古墓,文章从墓制、出土器物形制、铜器铭文三方面对江苏六合程桥三座春秋墓予以分析研究,试图廓清其中的文化因子,从而管窥吴楚百年战争背后的文化交流。     

商代金文字频分级的初步研究

以2009年底已公开发表的商代金文材料为限,商代金文可归纳出字头1343个,可释单字569字。其中,常用字即出现频率在10次及其以上的单字计203字,次常用字即出现频率在2次及其以上至10次的单字计515字,罕见字即出现频率为1次的单字计625字。＂父＂的出现频率最高,过千次。＂亚＂的出现频率仅次于＂父＂。商代金文高频字中无虚词、动词、数词,全为名词,主要是天干和亲属称谓用字。     

三星堆青铜纵目面具与铜兽首冠人像的藏文化解读

This article is the fourth article re-lated to the research of “Zhangzhung·rGyalron· Sanxingdui and Jinsha”—Tibetan cultural interpre-tations of relics unearthed in Sanxingdui and Jin-sha. The main focus of the article is Tibetan cul-tural interpretations of the vertical-eyed bronze mask and the copper statue of a man with an ani-mal head crown in Sanxingdui Museum. 1 . Vertical-eyed bronze mask and Miwo Lon-glong The bronze cultural relics unearthed in Sanx-ingdui or even Jinsha have broad and deep links to ancient Tibetan culture. The vertical-eyed bronze mask is the most typical of the numerous bronze objects depicting human heads. In the following discussion, we would like to give an interpretation of the symbolic meaning of the bronze objects de-picting human heads. In order to draw inferences about other cases from one instance, we would like to choose two typical cases: choosing the vertical-eyed bronze mask as our model of cultural relic, and choosing langshi jiazu ( the Lang family clan) as our model of Tibetan ancient literature. It is generally stated that the eyes of the verti-cal-eyed bronze mask kept in Sanxingdui museum roughly meets the appearance of the Shu people ’ s ancestors, the Cancong, who are recorded as hav-ing “vertical eyes” in the historical books. Some people also believe that “vertical eyes” means“upright eyes”, just like the eye in the forehead of the God Erlang in Chinese ancient myth, so the image might be a statue of an ancestor god. Addi-tionally, some connect it with the frontlet of kuilong ( a sacred dragon in Chinese myth ) , and believe that it is related to zhulong( another sacred dragon in Chinese myth) who has a human head, a dragon ( snake) body, and “upright eyes”. Langshi Jiazu is an important document for studying the political and religious unification sys-tem in Tibetan areas during the Yuan, Ming and Qing dynasties, meanwhile, it is also an essential material for the study of the Gesar Epic. Langshi Jiazu was published by Xizang renmin chubanshe ( Tibet People ’ s Publishing House ) for the first time in May, 1986, and the whole book is com-posed of three parts. From the perspective of the ancient Indian centralism and Tibetan centralism, Langshi Jiazu has many unique parts, and its con-tent has an unusual connection with rGyarong in the southeastern part of Tibetan areas. For in-stance , the content of the fist part is very similar to shengniao xiongqiongwang zhuang ( Biography of the Sacred Bird Garuda) recently discovered in the rGyarong area. There is a myth in Langshi Jiazu, and the sto-ry is very common in Bon literature. The academic circle calls it the Bon religion’ s view on the crea-tion of world—the universe is oviparous. Most scholars believe that the view of oviparous creation of the world in Bon religion might be Tibetan peo-ple’ s own cognition. We provide translations to some content included in the Langshi Jiazu, and compare them with the vertical-eyed bronze mask, and notice some information which has been ig-
nored by the current academic circle. For in-stance, the vertical-eyed bronze mask symbolizes“”, Chinese phonetic translation Miwo Longlong, which means “may all your wishes be-come truth”. 2 . Copper statue of a man with an animal head crown in the Bon Religion The copper statue of a man with an animal head crown kept in Sanxingdui Museum is not com-plete, with only the upper part of the body remai-ning. The statue wears an animal head crown. On the two sides of the top crown, there stands two an-imal ears, in between of which there is a curly decoration which looks like an elephant ’ s nose. Apart from the previously-mentioned characteris-tics of the sacred bird Gaguda, the copper statue of a man with an animal head crown also has several other outstanding features, for instance, its crown and posture. The crown is not only high, but also has a rectangular hole, on the top of which there are three long strips. The statue is posed in a grasping gesture. This paper gives firstly an overall interpreta-tion of the copper statue of a man with an animal head crown according to the shengniao xiongqiong-wang zhuang, then gives a Tibetan cultural inter-pretation of the details of the statue. Concerning the knowledge of the three long strips on the crown of the copper statue, this article finds some clues from the angle of philology and archaeology, and proves that the origin of this crown is the sacred hat in Bon religion of Tibet. Moreover, this article also discusses the reason why the crown has these three strips on top of it. The author mentions that it is related to the sacred bird Garuda, and the three strips respectively represent the two wings and horn of the bird. In other words, the strips on the right and left side symbolizes the bird opening its wings and viewing the world, while the strip in the mid-
dle symbolizes that the sacred bird is male, not fe-male. From one aspect, the head dress of adult women in the rGyarong area symbolizes the sacred bird Garuda, and from another aspect, in Tibetan culture, including rGyarong culture, only the sa-cred male bird Garuda has the horn. That means the sacred bird Garuda with a horn must be a male one. Concerning the vertical-eyed bronze mask and the copper statue of a man with an animal head crown unearthed in Sanxingdui, there are still many details that need to be explored, and also we feel that it could be differently interpreted. Howev-er, due to the limitations of space, we will not do a long discussion here, but we do hope that from the examples provided in this article, one can draw inferences about other cases from this one in-stance.