In 1126, the Song Dynasty (960-1279) was faced with an exigent political crisis: after testing the borders for years, the neighboring Jin state marched its armies south, destroyed the capital city Bianjing, and reduced its territories by half. The dynasty’s collapse and reconstitution in southern China has prompted ongoing scholarly debate about what types of political, economic, and cultural differences emerged between the Northern and Southern Song periods. My project uses the narrative handscroll Illustrations of Auspicious Responses to study the development of the imperial cult and images of rulership in the Southern Song. It is the first monograph length study of the scroll since it was rediscovered in 2009 and examines how the reigning Zhao house effectively used visual and material culture to argue for its legitimacy, employing the rhetoric of moral justice and acculturation, rather than overt depictions of military dominance, to describe the establishment of the Southern Song and its first ruler. Works such as Illustrations demonstrate that the sophistication of court-based art was not destroyed along with its physical structures. Rather, with the move south artists became essential to promoting the political aims of the court: using cultural legacy as the most expedient way to purchase political legitimacy in a time of uncertainty. Illustrations acts as an expertly articulated defense of the court’s right to rule, echoes of which have filtered through the late imperial period and can be seen in how China positions itself in relation to the world today.

本論文凡分六章，約十萬字． 首章敘研究動機及方法： （一）動機：中國詩歌史上：西崑體：佔有一定地位，西崑之為體，實得名於西崑酬 唱集，故要瞭解西崑體，則必須從西崑酬唱集入手：又歷來學者論詩每有唐宋詩之分 ，西崑體之時代，正是唐詩轉變成宋詩之關鍵，故研究西崑酬唱集，上可溯唐詩，下 可窺兩宋，如此唐宋詩涇渭當可分明． （二）方法：文學作品與時代環境關係密不可分，尤以中國文學為然，西崑酬唱集為 宋初民風裕泰之產物，其詩素以迷離閃爍見稱，於時代環境，作家各人際遇一無所知 ，則難明詩中意旨，故本文先歷史傳記考察入手，再從作品本身見其思想感情及藝術 成就．換言之，即採一種外緣，內在合一的綜合研究方法． 二章考察宋初詩壇創作狀況；分晚唐體，白體，西崑體三派，分別（一）考各派興起 之因，（二）考各派作家傳略（三）考各派作品得失，並從掃清五代浮弱詩風，確立 西崑體在宋初詩壇的地位． 三章敘西崑酬唱集編纂及重要傳本；蒐集現存西崑酬唱集重要傳集凡得七種，即明嘉 靖刊本，清周楨王圖煒合注本，四庫全書本，古城遺書本，粵雅堂叢書本，民國王仲 犖注本，鄭再時箋注本，其中清周楨，王圖煒合注本及民國鄭再時箋注本為新出資料 ，國內少見，於理解西崑詩意頗有幫助． 四章敘西崑酬唱集詩歌內容：採知人論世以及意逆志方法探討詩歌意旨，以見其非託 之空言，並修正前人評西崑內容空洞，缺乏真情感之錯誤． 五章敘西崑酬唱集詩歌形式：分別從章法，用典，對偶，詞藻，節奏諸方面來看西崑 詩特殊的創作技巧． 六章餘論：從西崑作家學李商隱師包蘊密緻特點修正前人以為但取其學李商隱麗詞之 說，並從矯五代詩風，開啟宋詩大道，肯定西崑詩人的文學史上地位．

Even though there has been no lack of scholarly attention to Chinese epistolary texts as a source of information, discussions of the functions and practices of letter writing in imperial China are very limited. This thesis deals with how elites in Song dynasty (960-1279) China exchanged personal and political information by writing and sending letters to each other, and how the genre of letters functioned in its various forms throughout the socially transformative and culturally active period. Through contextualizing epistolary material - such as letters in manuscript and print form, letter collections, and epistolary manuals, as well as sources in other genres that describe letter writing practices - I explore the multifaceted uses of letter writing for literati officials. The study provides a systematic view of the functions of Song letter writing in political, social, and cultural realms by investigating its complex practices. Using letters in several sub-genres by important literati figures such as Mi Fu, Li Gang, and Sun Di, it illustrates the main aspects of letter writing, including format, rhetoric, topical content, and handwriting. In view of the roles played by letters exchanged among Song scholars, this research on literati correspondence provides a window on how interpersonal relationships were conducted by written exchanges during that period. It also sheds light on how epistolary culture was transformed by the literati community during one of the key periods of Chinese civilization. These insights will contribute to the research of Chinese literati culture and related fields, such as the social history of middle period China, and will also be useful for comparing China's epistolary culture with the world's other letter writing traditions.

abstract: This dissertation is the first detailed and extensive study dedicated to the life and art of the master artist and scholar-official Chen Rong (active 13th century), and offers an expanded analysis of his most famous work, the Nine Dragons scroll (1244). It provides a reconstruction of Chen Rong's biography, character and political career, and discusses his significance and impact in the study of Chinese painting during the late Southern Song dynasty (1127-1279) and beyond, by highlighting the reception and interpretation of the Nine Dragons scroll in the past and in modern times. This is achieved by addressing writings such as eulogies, poems and commentary about Chen Rong by his contemporaries and later biographers, and also analysis of recent works by contemporary Chinese artists that reinterpret Chen Rong's Nine Dragons motif directly. In addition to offering an expanded reading and interpretation of Chen Rong's inscriptions on the Nine Dragons scroll and inscriptions by subsequent viewers of the scroll, this study sheds light on the artistic context, significance, and historical development of dragons and dragon painting in China. This dissertation also offers the first full English transcription and translation of Emperor Qianlong's inscription on the Nine Dragons scroll, and that of his eight officials. Furthermore, this dissertation includes two detailed appendices; one is a detailed appendix of all of Chen Rong's paintings documented to exist today, and the second is a list of paintings attributed to Chen Rong that have been mentioned in historical documents that no longer appear extant. This interdisciplinary study provides insight into the processes that influence how an artist's work is transformed beyond his time to that of legendary status. This clarification of Chen Rong's biography and artistic activity, particularly with respect to his most famous work the Nine Dragons scroll, contributes to modern scholarship by providing an expanded understanding of Chen Rong's life and art, which in turn, adjusts prevailing perceptions of his life and work. / Dissertation/Thesis / Ph.D. Art History 2012

No description available.

本論文之研究，旨在檢討戴震反對程朱思想的意義，以澄清戴震對程朱思想的誤解， 並評估戴震哲學的價值．參考文獻以戴震《原善》、《緒言》、《孟子私淑錄》、《 孟子字義疏證》以及《戴震文集》為主．（上述各項，係以里仁書局重新標校之《戴 震集》為底本）又後人之論述戴震思想及其反程朱之相關論著，亦儘量加以參考．研 究方法則就戴震批評程朱的三個層面：形上學、心性說、工夫論，分別處理．處理方 法是：首先說明戴震的批評意見，其次介紹戴震的思想，最後是對戴震的批評加以檢 討． 本論文全一冊，計十萬餘字，分六章十四節．第一章是緒論，說明本文的研動機、方 法與宗趣，並考察前人的研究意見，以及說明本文所依據的資料等．第二章介紹戴震 的思想淵源、哲學著作、治學精神，以及戴震與程朱的關係；其次，則是分析戴震反 程朱思想的背景，以作為本文的研究基礎．第三章說明戴震對程朱「理氣論」的批評 ，介紹戴震「理存於氣」的主張，並檢討他反對程朱「理氣論」之得失．第四章說明 戴震對程朱「心性說」的批評，介紹戴震「血氣心知」的主張，並檢討他反對程朱「 心性說」之得失．第五章說明戴震對程朱「工夫論」的批評，介紹戴震的「工夫論」 ，並檢討他反對桯朱「工夫論」之得失．第六章是結論，檢討戴震反程朱思想的意義 ，以及評估戴震哲學的價值． 透過本論文之研究，可知戴震對程朱思想的批評，是出於誤解；但無可平認，程朱思 想有其嚴峻的一面，因而有過度抑制情欲的流弊；戴震哲學的價值即來自對情欲的肯 定，而其缺失，卻也因此而產生．

緒論 第一節 文官制度之意義 文官制度者，政府為維持其組織，推行其職務，恢宏其功能，達成其目的而選擇、管理其政府人員之方法、程序與實施之體系及關係之規範也。故其內容首重考選，次及任用，任用而後則給以待遇，督以考課，績優則陞，績劣則黜，至其疲老不堪任事，則罷其職以養老，用示優恤。此即文官制度之大要。故文官制度實為政治制度中最為重要之一環。以言其區別，則政治制度者，政府組織之形態也，文官制度者，此一組織中推動力之運作程式也。 第二節 文官制度之價值 文官制度，又稱吏治制度，言涵孕，則具動靜兩態之意義，就靜態言，係著重其組織、結構與上下權責關係，就動態言，則強調其運作實況與其功能。 第三節 研究旨趣 宋之文官制度，上承漢唐之盛世，下啟明清之新機，其考選之公平，程式之嚴密，視之今日，並無遜色，其待士之仁厚，取士之寬廣，較之歷代，實具特色，且其史料留傳，至今仍稱豐富，文治之影響，亦得述之而詳，論者復稱治近代史者應從宋史著手（註四）或謂中國成為今日之現象，什之八九乃為宋人所造就。（註五）此皆指其文治之特色與影響也。至若宋之納幣和，苟且偏安，則有何佳績可言？ 宋以文治，上繼五代割據殘破之勢，下開明清專制一統之局，端賴其完密之文官制度，有以致之，故對其文官制度之研究，自有其意義焉。 第四節 研究方法 本文研究資料，首以宋史、會要為主，參之以文集、筆記，補之以長篇、要錄，證之以通書，類書，取其相融相通，去其箑迕矛盾，堆砌間架，復其故事。 故本題之研究，雖在恢復故事，亦何敢掉以輕心，因之凡史料之所存，皆加統計，然後製表，故文中繪表百幅，補以說明，俾得舉綱目理，提領毛順。

宋代在中國歷史上居於承先啟後的地位，前收唐末、五代變亂之局，後奠元、明、清 諸朝統一規模之基，影響政俗人心者，頗為彰著。 本論文利用宋代原始資料，係採官私並重原則，「宋會要輯稿」、「宋大詔令全集」 、「續資治育鑑長編」、「三朝北盟會編」、「建炎以來繫年要錄」等鉅著固在引述 之例，即有關筆記小說、雜史稗聞以及諸家文集等，凡有助於補充宋代軍隊建制及事 實之銓釋者，亦多參證；且兼及近代學人研究宋代之圖書、專著暨探討宋代戰役之論 文與考證。 論文全文共分十章，第一章言「宋代軍隊之來源」。第二章言宋代軍隊之種類，分禁 軍、廂軍、鄉軍、蕃軍與水軍分別述之，注重各軍種在國防上戰力消長之變遷。第三 章言宋代軍隊之組織，分樞密院、帥臣、殿前及侍衛司、邊將及宦臣等五節述之。第 四章為宋代軍隊之訓練，分武舉與武學、教閱與操演、陣圖之運行、更戌之推行，以 及置將法之實施等五節述之。自第五章至第九章，分別言宋代軍隊之分佈、遷補、給 養、軍法以及軍事裝備等。 本論文之第十章為結論，乃係就政治學及社會學的觀點，來綜合說明宋代之社會及政 治兩者與軍事之互動關係。大致言之，宋代社會乃一「反戰社會」，厭兵思想與「不 勤遠略」的觀念充滿為政者的腦海。國家長期之中心政策為如何求得和平，縱使暫時 苟安，苟安亦算「和平」的一種。為達到和平，任何犧牲，在所不惜。本文試利用「 軍事體系乃社會體系之環；而軍事體系必受時代與環境影響及其限制」之假設，來探 討分析宋代軍隊之特質、宋代軍制改革派之所以失敗之基本理由、以及與前代相較。

University of Macau / Faculty of Social Sciences / Department of History

The thesis traces emergence of chrysanthemum, a favourite symbol in Chinese poetry, and discusses its various uses within the context of the Song ci poets. The chapters of the thesis focus on precising connotations and their transformations related to the chrysanthemum as one of the most frequently appearing flower motifs in Chinese literature and specification of the literary-historical description of the Song ci and yongwu evolution process. The thesis also aims to present connotations reflecting the evolution of Song lyrics from non-serious tunes to the official poetry, shift in using the motif in shi and ci poems and the presence of Tao Yuanming's and Qu Yuan's chrysanthemum motif in Song ci. It describes the extent in which the genre of Song ci modifies the meaning of motif; how much of the traditional meaning referring to Qu Yuan and Tao Yuanming is preserved and how does the ci genre influence traditional meaning and the general cultural cognizance attached to the motif. Attention is also paid to the process in which the meaning empties itself and becomes an ornamental motif indicating occasion and season of the year and evoking certain mood. Key words: chrysanthemum, Tao Yuanming 陶淵明, Song dynasty, ci 詞 poem, yongwu 詠物, flower motif