茲扼要說明章節與內容如后： 第一章：緒論─第一節：研究動機與題目界定。第二節：研究假設與基本模型。第三 節：研究方法。 第二章：廠衛的基礎及其背景─第一節：君主專制。第二節：法家思想。第三節：懦 家思想。 第三章：廠衛的制度─第一節：廠衛的發展，第二節：廠衛的組織。第三節：廠衛的 職權。第四節：廠衛的甄補。第五節：廠衛的領導。第六節：廠衛的關係。 第四章：廠衛的運作及其影響─第一節：懷柔策略。第二節：高壓策略。第三節：官 僚體係。 第五章：結論。

Calligraphic rubbing collections or rubbing collections of model calligraphy (fatie 法帖) are frequently described as a source of canonical models for the learning of calligraphy. They are often associated with and usually refer to the calligraphy of the Two Wangs (Wang Xizhi 王羲之, 303-61, or 321-79, and his son Xianzhi 獻之, 344-86). They also became acknowledged as embodying the classical tradition transmitted mostly from the Jin (265-420) Dynasty, one which was well-known as the calligraphy canon. In general, recent scholarship on rubbing collections holds that rubbing collections often transmitted important and highly recognized works which represented the classical tradition or calligraphy canon. This thesis aims to analyze how Ming Dynasty (1368-1644) people received new forms of rubbing collections, and explores some of their social roles in Ming China. Apart from traditional concerns, for instance for the aesthetic value and the origins of various editions of rubbing collections, other aspects of rubbing collections of the Ming, for example, socio-historical and material culture perspectives, have not been explored in detail. The development of this form of calligraphy reproduction in China is important as an instance, alongside original works of calligraphy, of how the history of calligraphy was created and contested. The thesis will evaluate which calligraphers were chosen to be reproduced in rubbing form, which of their works were included, and what proportion of rubbing collections their work occupied, as well as who the patrons were and when the collections were published. An analysis of this information will show how the rubbing collections challenged the calligraphy canon and facilitated social mobility between various social groups particularly, scholars-officials, merchants and commoners. It will be demonstrated that Ming rubbing collections were no longer exclusively devoted to the traditional canon, nor did they contain only calligraphy of high aesthetic value. Calligraphy after masterpieces written in the copiers’ own styles and writings of those without significant reputations in calligraphy were made into rubbing collections as well. The thesis will attempt to show the cause(s) for this change.

An introductory conversation with a new person I just met usually goes like this: So, where is your accent from ? Are you American? Well, yes, .....but no. Not really. I do have American citizenship and I lived in the US for fifteen years but I grew up in France. Ok, so you’re French? Well, yes, but .....not totally. My mother is French but my father is Tunisian. Ok, so you’re Tunisian? Well, yes, but... not wholly. I don’t speak Arabic, so I don’t totally feel Tunisian. So what are you? American? French? Tunisian? With my work, I ask the same questions. What is this? What does it do? How do I, the maker, relate to it? How does the viewer, the other side of the conversation, relate to it and understand it? Can we understand each other if we do not speak the same language? Who am I and who are you anyway?

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Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive.

This dissertation examines the intersection between the culture of knowledge and socio-economic conditions of late Ming and Qing China (1550-1800) through the lens of materia medica. I argue that medicine in China during this time developed new characteristics that emphasized the centrality of drugs as objects of pharmacological knowledge, commodities valued by authenticity and efficacy, and embodiment of medical skills and expertise. My inquiry contributes to a deeper understanding of the materiality of healing as a basic condition in early modern societies: on the one hand, textual knowledge about drugs and the substances themselves became increasingly available via the commoditization of texts and goods; on the other hand, anxiety arose out of the unruly nature of potent substances, whose promise to cure remained difficult to grasp in social practice of medicine. / History of Science

published_or_final_version / Fine Arts / Master / Master of Philosophy

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive.

由14位作者寫於17世紀、收於耶穌會羅馬館的28篇祭禮文獻，是迄今所見最早一批出自中國士人信徒之手，在禮儀之爭期間就傳教士對祭祖禮的顧慮作出回應的文章。按內容來看，傳教士的顧慮可歸納為兩類，一是採取詢問的方式，向這批士人信徒請教與祭祀相關的問題，二是對祭祖禮已持有否定態度，致令這批作者撰文予以反駁。從祭祖禮的觀點方面來說，28篇文獻作者主要是從祭祖本義、祭祖禮是否真的含有與天主教信仰相牴觸的成份等兩方面，進行論述。對於前者，他們認為祭祖源於人情、德育及治國三方面的需要；對於後者，他們指祭祖禮既無求福的成份，亦不認為祖先仍會來格來饗於祭祀現場，因此祭祖之槍祭"與祭上帝之槍祭"在本質上迥異。雖然在該如何理人死後的靈魂狀態、嘏辭是否在當時社會中已無人應用等細節上，個別作者有不同的意見，然而他們基本上是一致認為祭祖禮應允許中國信徒繼續奉行。從立論方式來說，28篇文獻作者中縱使有個別作者對某些儒家經典的可信性存疑，但他們大多仍是主要採用經學進路，強調先王、孔子、儒學的地位及中國文字用法有其特別之處，援引儒家經典、尤其是《禮記》對祭祖禮的描述，以及宋儒的觀點、當中又尤以朱熹為主，作為探討時的論據. 以28篇與其所身處的明末清初時期經學主流相較而言，他們的確反映了當時整體經學風氣所尚--以朱熹為宗、漸開漢宋兼爭之勢。不過，對於祭祖禮本義的理解，比對作為當時經學相關方面的代表人物--朱熹及其學派的陳澔、納蘭性德等人的觀點，在情、德、治三方面之外，朱熹等人並不否認祭祖求福、相信祖先能來格來饗，朱子甚至認為祭祖的本義之一，就是在於以祭祀之誠讓祖先的魂魄能夠得以安頓。以28篇與其所身處17世紀來華傳教士、教廷相較而言，耶穌會傳教士的觀點最與28篇相近，他們注意到祭祖禮在情、德方面對中國人的意義，認為仍有允許中國信徒奉行祭祀的價值。然而，多明我會、方濟各會傳教士則持定相反意見，他們的關注點不在於祭祖禮對中國人的意義、價值，而是禮儀中所存在的求福於祖先、相信祖先仍能來格來饗等成份，與天主教信仰相悖。至於教廷，則會按傳教士上呈的資料，而對祭祖禮是否仍能奉行於信徒之間，在答覆時作出相應的調整。立論方式上，除耶穌會與多明我會的萬濟國，會引用中國儒家經典作為討論依據外，托缽修會的傳教士主要是按眼見當時社會上祭祖禮情況作出判斷。雖然在論述過程中，28篇文獻一方面與明末清初經學主流對於祭祖禮本義的理解存在歧異，另一方面亦出現對經典的錯解、邏輯上的謬誤等若干不足；但是，不管是讓後世得以更全面地認識禮儀之爭這段歷史，抑或是為當代有關槍祭祖"問題的研究帶來參考與啟發，這批文獻皆具有重要的價值。Abstract The 28 documents, collected by the Society of Jesus Roman Archive, were written in 17th century by 14 authors. They were possibly the earliest Chinese scholar-believers that discussed with the western missionaries about the concept of ancestral offering ritual during the Chinese Rites Controversy. Since the ancestral offering ritual had been held negative attitude, the scholars had to write these documents for refuting. For the ancestral offering ritual, the authors mainly discussed the original meaning of ancestral offering ritual, and consider whether it is in contravention of the Catholic faith. They believed that ancestral offering ritual contained three elements: humanity(人情), morality(德育) and social order(治國). They neither looked for blessings from ancestors nor thought that the spirits of ancestors would be present to the ritual, thus, the ancestral offering and the offering sacrifice to God were different in nature. Though individual authors had different views on the state of the spirits of ancestors, they agreed that ancestral offering ritual should be allowed to continue to practice among Chinese believers. Most of the authors mainly used the Confucian Classics Approach(經學進路) to make their arguments. They took Confucian, especially the "Book of Ritual", and Zhu Xi of Song Dynasty as the main sources to present their.;arguments of ancestral offering ritual. However, apart from the three elements, Zhu did not deny that ancestral offering ritual was to seek blessings, and believed that the spirits of ancestors would be present to the ritual. Zhu even believed that ancestral offering ritual was for settling the spirits of ancestors. The view of the Society of Jesus was closed to that of the authors. They noted that the significances of ancestral offering ritual to Chinese people were more about humanity and morality, and thought that it was worthy for Chinese believers to practice the ancestral offering ritual. However, the Dominican and the Franciscan missionaries held of opposite view. Their concerns were not the significances and values of ancestral offering ritual, but the behaviour of seeking blessings from ancestors and the belief of the presence of the spirits of ancestors. In the Chinese Rites Controversy, the Society of Jesus and the Francisco Varo of Dominicans referred Confucian as the basis for their discussions. The Mendicant missionaries mainly depended on the situation at that time in the society to make judgments. The Vatican was only according to the information from missionaries to make corresponding judgments that whether the ancestral offering ritual was being allowed to practice among Chinese believers. Although there are discrepancies and some logical fallacies between the 28 documents and the Confucian Classics of Ming and Qing Dynasties about the understanding of the original meaning of ancestral offering ritual, these documents can bring great inspiration on the contemporary research of ancestral offering ritual and make a more comprehensive reorganization of the history of Chinese Rites Controversy.

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