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Five-character poetry is an important poems form in Chinese Literature, which have five-character-four-sentences, six-sentences, eight-sentences, ten-sentences,twelve-sentences or even longer. Although the regulated verse form got into matured in Tang Dynasty,but it was brewing in the Southern Qi Liang.Start from Southern Song Dynasty,five-character poetry was gradually appeared into a large number,especially of the five-character-eight-sentences poetry.However, among the academia only focus on researching poetry rhythm and the antithesis,did not put efford into research the structure of five-character poem.This thesis focuses on this phenomenon,based on the number of five-character poems and the poems structure,try to research the process of five-character poems evolve into regulated verse.

published_or_final_version / Buddhist Studies / Doctoral / Doctor of Philosophy

東漢末年，一種名為「塔」的宗教建築物，隨著佛教的傳入而與之同時進入中國，成為崇敬禮拜的信仰中心。在佛教於中國的傳播過程中，塔的定位隨著宗教空間需求的擴大、以及中國固有王權空間觀念的影響而不斷的調適演變，逐漸的喪失了原本禮佛與信仰的中心地位，而轉變成為寺廟中缺乏實質用途的裝飾象徵性建築物。隋唐時期，先有隋文帝於仁壽年間大規模的造塔活動，使佛塔的建築與信仰普及全國，後有唐代重視休閒娛樂活動的社會風氣，並進而與科舉文化相結合，使得高聳的佛塔也同時成為得以享受登臨與題名之樂的風景名勝，具有更為世俗化的形象。 此外，多部講述造塔功德的佛經於唐代加以翻譯，使得唐代佛教徒以塔為墓風氣盛行，而民間功德塔的興造也非常興盛。在塔的概念與形象轉變方面，「以塔鎮地」概念的出現；佛塔高聳筆直、層層累疊的建築外型，也被用來指稱外觀或概念近似的建築物。最後，塔所突現出的垂直向度，也容易引申出人們各種關於崇敬、焦慮、與好奇的情緒：既是膜拜禮敬、溝通凡聖、得以消滅罪障的神聖空間，卻也是異常高聳、攀登不易的危險場所，甚至還是異人藏寶、夜叉棲居的奇特領域，而成為形象多元並具備豐富色彩的文學空間。甚至，具體而微的掌中小塔，也因為佛塔靈驗奇特的形象，而被延伸發展成為具有保護功能的隔離所。這些複雜神奇之各種異想的出現，也預示出塔在隋唐之後所即將呈現出之更為璀燦豐富的文化面貌。 / As a unique architecture of Buddhism, the Buddhist pagoda immigrated into China in the Han dynasty. Pagodas were built widespreadly as the religion center in the following centuries. However, after emerging with the traditional Chinese architecture concept, the main hall replaced the pagoda becoming the center of Buddhist temple gradually. In the Sui and Tang dynasties, various forms of the pagoda were presented because of the popular acceptance of Buddhism in the society and of the newly translated Buddhist Scriptures. In the form of tall pagodas of large temples in the capital to the small ones as memorials of eminent monks, the pagodas presented various images and were completely transformed from foreign architecture to the Chinese building. In the peace period, activities around the pagodas were recorded in documents and literatures forming a unique landscape in the Tang culture. Combination of the images of tall obvious building and holy religious space, lots of implications, other than solely Buddhist architecture, appeared in the literatures. Arising from the sensation to the architecture space and from the miraculous legends and tales, diversified and colorful imaginations have enriched the culture of Sui and Tang dynasties. Based on the literatures, historical documents, Buddhist Scriptures, architecture researches, and archaeological excavation, the details of different presentations and implications of the pagoda were demonstrated and concluded.

一、研究目的：南北朝之經學，以五經正義為匯歸。隋代之經學，在南北朝義疏之學走向唐代五經正義之學中，實具關鍵之地位。劉焯、劉炫二氏為隋代之大儒，五經正義中：詩經、書經、左傳等皆據二劉先生之著作為底本，加以刪削而成，故以「劉焯劉炫之經學」為題，探討此一幽隱之轉折。 二、研究文獻：史傳書錄記載劉焯之經學著作有三種，劉炫之經學著作有十三種，然於唐未間先後亡佚。今日有佚文可得者，劉焯僅尚書義疏一種；劉炫亦僅尚書述議、毛詩述議、春秋左氏傳述議、春秋規過、春秋攻昧、孝經述議等六種。歷來輯者若不謨、郡瑛、薛承宣、黃奭、馬國翰、陳熙晉等雖有輯本，然蒐集範圍過窄，所據底本非佳善，文孛迻錄有失真，故未稱完善，故必重輯其佚文，以求完備。 三、研究方法：劉焯劉炫之著作，今率皆亡佚，僅有典籍援引，故必藉由輯佚，重輯其佚文，又必透過經學史之觀點，將其定位，以探究其經學之底蘊，最後亦必將二氏之思想，置於思想史中見其卓識，故此題融入輯佚、史學、經學、哲學等之全程觀點。 四、研究內容與成果：（一）說明本題以劉焯劉炫作綜合研究之因，闡述本題研究之四項價值，檢討以往研究之成果，並陳述本題之主旨與研究方法。（二）說明劉焯劉炫所處之時代背景與學術風尚。（三）依史傳參證劉焯劉炫之生平，考輯其著作。（四）重輯劉焯劉炫經疏之佚文，計得尚書佚文一百一十條，毛詩佚文八十二條，春秋左傳佚文四百十十八條，孝經述議佚文一百九十一條，合計八百又一條。（五）分就尚書學、詩經學、春秋左傳學、孝經學等四章，依重輯之佚文，就其形式與內容全面 考察之，且評論其得失。（六）簡述本題論述之要點，二劉先生治經之特色與對經學之貢獻，並說明本題研究之不足與今後研究之方向。 經學（尚書－毛詩－左傳－孝經）－隋代－劉焯－劉炫

Despite of the historical significance of Six Dynasties (220--589)---a turbulent time between Han and Tang Dynasty---research on jades of the period remains a neglected overlooked topic. Short of systematic studies, our understanding of the functional change of jades from religious rituals to daily life and decoration is greatly lacking. The current thesis studies jades excavated from tombs and collected in museums, by identifying their dates, characteristics, and styles through comparison and stylistic analysis, and discusses the use of jades through three centuries of change. / The thesis begins with an introduction of important jade finds from 1949 to 2009, followed by three chapters (chapter 2--4) illustrating the jade culture of the Six Dynasties. Chapter 2 is a case study of a jade pendant set. This examination provides important implications on the stylistic origin and changes of jades in the Six Dynasties. Chapter 3 explores the cause of functional differences in jades produced and used by Chinese and non-Chinese people and their influences on Tang Dynasty jades. Chapter 4 discusses ingestion of jade as a religious quest for immortality under the impact of Daoism. The final chapter concludes the thesis with an investigation into the scarcity of jades from this period to define the significance of Six Dynasties jades in the broader history of Chinese jades. / 褚馨. / Adviser: Jenny F. So. / Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 192-206). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Chu Xin.

洪娟. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves [65-71]) / 附中英文摘要. / "2001 nian 6 yue" / Hong Juan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves [65-71]) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒言 / Chapter 第一節 --- 簡牘硏究槪況 / Chapter 一 --- 出土情況 --- p.1 / Chapter 二 --- 簡牘書法硏究成果 / Chapter (一) --- 中國學者的簡牘書法研究 / Chapter 1. --- 八十年代及以前的硏究 --- p.2 / Chapter 2. --- 九十年代及以後的硏究 --- p.7 / Chapter (二) --- 曰本及西方學者的簡牘書法研究 --- p.10 / Chapter 第二節 --- 走馬樓吳簡書法硏究前瞻 / Chapter 一 --- 走馬樓吳簡的性質 --- p.14 / Chapter 二 --- 吳簡書法的研究方法 --- p.15 / Chapter 第二章 --- 走馬樓吳簡書法硏究 / Chapter 第一節 --- 三國書體發展槪況 --- p.22 / Chapter 第二節 --- 從偏旁分析探討吳簡的書體 / Chapter 一 --- 篆書 --- p.25 / Chapter 二 --- 隸書 --- p.26 / Chapter (一) --- 受碑別字影響的寫法 --- p.27 / Chapter (二) --- 相對於碑別字較統一的字形 --- p.30 / Chapter (三) --- 對於字形的改造 --- p.31 / Chapter 三 --- 楷書 / Chapter (一) --- 改造隸書字形 --- p.32 / Chapter (二) --- 對於隸書筆法的改造 --- p.33 / Chapter 四 --- 草書 --- p.36 / Chapter 第三章 --- 從吳簡看三國書風 / Chapter 第一節 --- 與鍾繇書跡的比較 / Chapter 一 --- 鍾繇書風 --- p.40 / Chapter 二 --- 吳簡的書手 --- p.41 / Chapter 三 --- 吳簡與鍾書比較 --- p.43 / Chapter 第二節 --- 三國書風的展現 / Chapter 一 --- 三國書風綜述 --- p.47 / Chapter 二 --- 吳簡對於三國書法面貌的展現 --- p.51 / 結語 / Chapter 一 --- 走馬樓吳簡書法研究的意義 --- p.58 / Chapter 二 --- 相關問題的探討 --- p.60 / Chapter 三 --- 硏究展望 --- p.61 / 參考書目 / 附錄一：近世簡牘帛書出土年表 / 附錄二：吳簡對照字形表 / 圖版