中国汉前四灵文化研究

发布时间：2017-12-26 23:03

  本文关键词：中国汉前四灵文化研究　出处：《山东大学》2016年博士论文　论文类型：学位论文

  更多相关文章： 汉前 四灵 文化

【摘要】：“四灵”的整体或个体经常出现在我国古代建筑、雕塑、壁画、服饰当中,出现在我国古代文化典籍和考古当中,出现在我国神话传说和道教、佛教当中,出现在我国古代一些器物器皿当中,对“四灵”的研究和解读,不仅关系到传统文化文本的研读和理解,而且可以增强各国人民对我们的正确认识和了解。随着中华民族在世界的崛起和中外文化交流的加强,中国的传统文化在世界上也越来越受到前所未有的重视,我们在继承和发掘我国古代优秀的传统文化过程中,在对外文化交往中,必然会遇到一些急迫的问题需要及时作出回答,尤其是一些深层次的涉及民族精神民族心理的文化现象,其中“四灵”文化是一个重要内容,“四灵”文化不仅涉及范围广,而且与我们民族心理、民族精神等深层次的文化解读和阐释密切相关,如中华民族为什么以龙为喻?中华龙象征着什么?“四灵”结合在一起过程是怎样的?有什么特殊的涵义?和我们民族性格有什么关系?“龙凤呈祥”中龙和凤为什么和吉祥常常联系在一起?背后的哲学基础是什么?中国人为什么喜爱龙和凤并且以它们为名?这些问题不仅中国人有着强烈的寻根问底的兴趣,越来越多的外国人在了解和解读时也感到非常好奇。因此,四灵文化研究具有重要的学术价值和现实意义,可以让我们更好的认识中国古代历史、风俗习惯、政治制度、民族宗教,可以更好的研究涉及我们民族精神民族心理等深层次的内容,更好的继承和传播我国优秀的传统文化,丰富中国人的人文精神,同时,对于增强民族审美意识和民族凝聚力,弘扬民族传统文化,加强我们的对外文化交流,也具有重要作用。本文通过结合以往的研究成果和考古发现,在前人研究的基础上,采用纵向研究与横向研究相结合的方法,采用王国维提倡的二重证据法,以历史为经,以各个历史阶段对四灵的研究为纬,将文献资料与地下出土资料相结合,通过演绎与综合、个案考察与理论总结相结合的方法,利用文献学、考古学、文学、历史学、文字学、民俗学、文化学等多学科领域的理论与方法,综合性地展开对四灵的研究。论文主体部分五章,前有绪论,后有结语。绪论首先从“四灵”出现时间、“四灵”形成的时代和知识背景、“四灵”组合的历史过程三个方面探讨了“四灵”形成背景及过程,其次在探讨汉代四灵发展及四灵异化的基础上,对“四灵”概念进行了辨析及界定界定。最后对“四灵”研究现状及意义进行了论述,回顾了国内“四灵”文化研究成果和国内外“四象”或“四神”文化研究成果：找到了四灵文化研究的薄弱环节或学术空白,为论文写作确定了重点和方向；阐述了论文研究方法和研究意义；介绍了论文结构。第一章对龙的原型、史前到三国时期不同历史阶段的龙文化形象及其嬗变过程,作了相对完整的梳理。首先结合分析先秦文献中洧渊之龙、绛郊之龙、尧舜禹时的“中国”之龙、越国之龙,三国时的井中之龙,归纳出龙的生态特征与分布区域,考证出龙的原型应该是扬子鳄。其次以历史为线索,梳理了从先秦到三国时期龙的不同文化形象及嬗变过程：汉代以前龙的文化形象,是凶猛又带来祸患的灵异之物,来往天上地下人间三界的神物,一种人神都可骑坐的对象。以司马迁《史记》为中心,分析了关于汉代龙的文化意象,重点探讨了司马迁在《史记》中以龙喻帝王的文化内涵。首先对秦始皇、刘邦以龙为喻进行了对比分析,确定秦始皇是第一位被比喻为龙的帝王,而将刘邦比喻为龙,则是运用了一系列比喻手法组成了一个龙脉系统。通过系列传奇故事,探究了司马迁将刘邦比喻成龙的原因和目的,正是基于汉政权正当性和合法性的需要,同时探讨了司马迁的天命观和历史观在中国龙文化的发展演变中具有的重要思想价值。在《汉书》中,黄龙象征国泰民安,黑龙是灾难祸患的征兆,井中之龙象征天灾人祸。《后汉书》中龙的文化涵义发生了改变,龙的比喻从他人神话变为自我神话,英雄俊杰、文学之士亦可称为龙,以龙为名的或以龙为姓的平常之人也开始出现,龙开始具有主管四季降雨的职责。第二章对汉前凤的文化形象及动物原型进行了探讨。以历史为线索,结合分析先秦文献,梳理了从先秦到汉代凤的不同文化形象及嬗变过程,探讨了凤作为天下清明祥和的象征,体现了天人合一、天人感应的思想。考证了凤的原型最有可能是孔雀,凤凰作为一种灵物崇拜,是文化交流和传播的结果。重点论述了汉宣帝凤字年号文化背景与政治意图的关系。汉昭帝是最早用凤凰作年号的皇帝,而汉宣帝当政时期是记录汉代凤凰出现次数最多,凤凰最受皇帝重视的时期。以汉宣帝为例,从天人感应的视角,探讨帝王年号用凤的原因。“凤”的最初涵义是吉祥之鸟；帝王年号用凤的思想根源是以“万物有以相连”理论产生的天人感应,而汉宣帝之所以用“凤”作为自己执政年号,主要是在自己执政诸多不利的情况下,从舆论上证明自己继承帝位的正当性,赢得民心,粉饰太平,同时为自己心灵得到慰藉,于是采用了“五凤”作为自己执政的年号。第三章对汉前龟的文化形象进行了探讨。以历史为线索,结合分析先秦文献,梳理了从先秦到汉代龟的不同文化形象及嬗变过程：在史前期,我们从神话传说和考古资料里追寻龟在新石器时代对于人们的作用和意义,龟作为顶天负地、力大无比、长寿不老、预知吉凶的形象,龟作为沟通天人之间的使者,人们信仰它,崇拜它。九江进贡中央大龟和夏帝启用龟占卜铸鼎之事的文献记载,无可辩驳的证明了龟卜在夏代的重要性。商代是龟崇拜的繁荣时期,是龟卜在中国历史上占据最重要地位的时期,举凡国家大事都要通过占卜来预测吉凶。商代建立了完备的专门的占卜机构和严密的占卜程序,为以后的龟卜的继续发展和繁荣提供了经验和指导。同西周相比,春秋时期人们对龟卜的态度发生了明显变化。在更大规模和更广范围使用的同时,龟卜的神圣性在一定程度上遭到践踏。从战国到秦代,由于百家争鸣的出现和人类自身的觉醒,使得原来结合在一起的神权和政权出现了分离,龟卜在国家政治生活中已变得可有可无,龟卜彻底衰落了。在汉武帝和王莽时期,龟卜出现了两次短暂兴盛,但这只是在特殊历史时期和特殊条件之下的回光返照,龟卜的命运再次归于沉寂,是历史的必然。第四章对汉前麒麟文化形象及动物原型进行了探讨。以历史为线索,结合分析先秦文献,梳理了从先秦到汉代麒麟的不同文化形象及嬗变过程,探讨了麒麟作为天下大治祥和繁盛的征兆及其对史学的影响,结合现代动物学的知识和历史文献,考证了我国古代麒麟就是印度犀。一直以来,受儒家影响,麒麟经常以仁兽、灵兽的形象出现在先秦诸子及以后的文化典籍里面,是天下大治祥和繁盛的征兆；在黄老思想占主流的《淮南鸿烈》里,出现了“麒麟斗而日月食”的麒麟凶猛威武的另一面。从先秦到两汉,麒麟的形象经过了一个变化的过程：从自然界的一员,到把杰出人物比喻成麒麟,把万物之长宇宙之长的圣人比喻成麒麟。麒麟与我国史书的关系较为密切,从孔子作《春秋》的绝笔于获麟；到汉武帝获白麟,司马迁封笔《史记》；《越绝书》的写作也是直接受“绝笔获麟”的影响。根据现代动物学的知识和历史文献记载,对于麒麟为什么是“仁兽”作了探讨：从甲骨文和金文文字证明了商周之时麒麟的存在；从麒麟的身上似披上多层铠甲而且有圆泡钉式的肉包,把印度犀牛和其他犀牛区别开来；继而分析了麒麟与我国古代犀、兕之间的区别；最后从麒麟与印度犀的体形,一只肉角,圆蹄,颜色,生活习性等各方面证明了我国古代麒麟就是印度犀,回答了麒麟为什么是仁兽,人们喜爱麒麟的原因。第五章探讨了四灵体系的形成原因和对后世的影响。本章首先回顾四灵形成研究成果,学术界探讨四灵形成原因的文章不少,其中以陈久金“图腾说”、倪润安“天象和兵家说”和萧兵的“生命力说”最有代表性。其次从三个方面论述了“四灵”形成原因,一是论述了战国时期深入人心的大一统是“四灵”形成思想背景;二是从民族融合和文化整合的角度探讨了《礼记·礼运》篇出现原因;三是提出了“四灵”形成是民族认同不断发展民族文化不断整合的结果。最后较为详尽的考述了四灵对后世的影响。首先以年号为例,论述了四灵与皇权的关系。四灵之中,龟与龙的地位变化最大,龟的地位呈下降趋势,龙呈上升趋势,麒麟虽呈下降趋势,但没有龟龙变化的幅度大,凤的变化最小。其次论述了四灵与宗教的关系,四灵与文学的关系,四灵与科举的关系,四灵与封建上层的关系与下层民众的关系。全文最后以一个结语对四灵作出了整体评价,对四灵个体在历史上的地位及影响的变化作了总结。四灵文化是中华大地上各民族间文化交流碰撞的产物,伴随着以生活在中原为中心的民族走向统一而逐渐形成。四灵文化从单个个体形成四灵整体的过程,也是中国各民族间从松散的结合走向真正融合的过程,是各氏族部落或民族间文化交流孕育出来的结晶。窥一斑而知全豹,中华文化强大的向心力和凝聚力,极大的包容性和整合力,可以通过四灵文化表现出来。
[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
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：G122
，

本文编号：1339206