Bronze Inscriptions

漢語史中“屏”的音義關係比較複雜，本文重點討論它的兩項複雜式音變構詞：（1）原始詞指“屏蔽”，幫母靜韻上聲（*pǐeŋ/pǐɛŋ）；滋生詞指“偏僻隱蔽的地方”，又詞義構詞指“廁所”，並母徑韻去聲（*bieŋ/bieŋ）。（2）原始詞指“屏蔽”，幫母靜韻上聲（*pǐeŋ/pǐɛŋ）；滋生詞指“屏風”，並母青韻平聲（*bieŋ/bieŋ）。此外，“屏”還可以由“屏蔽”義變調構詞指“除去”，幫母勁韻去聲（*pǐeŋ/pǐɛŋ）。在確定音變構詞中的語義演變脈絡時，漢語及其他語言中的平行引申是重要參考。 [The phono-semantic relationship of “píng屏” is rather complex. This paper focuses on two complex sound alternation-based derivations of “píng屏”. The main conclusions are as follows: (1) The base word refers to “to screen” with bāng 幫initial, jìng 靜rhyme and shǎng tone, and the derived word refers to “a remote and hidden place” and further refers to “toilet” with bìng 並initial, jìng 徑rhyme and qù tone. (2) The base word refers to “to screen” with bāng 幫initial, jìng 靜rhyme and shǎng tone, and the derived word refers to “screen” with bìng 並initial, qīng 青rhyme and píng tone. In addition, “píng屏” can also be used as the meaning “to remove” with bāng 幫initial, jìng 勁rhyme and qù tone, which is derived from “to screen” through a change in tone. When determining the semantic change path, it is important to take the parallel meaning-extension in Chinese and other languages into account.]

Since the discovery of Oracle Bone Inscription (OBI), several generations of scholars worked so hard on the research of deciphering and translating of OBI that many words and sentences have mostly become understandable and readable. However, the origins of some recognizable characters are still uncertain today. This article attempts to look for the origin of the OBI character '𠂤'(Dui), then from the point of its original form, to figure out the principles of its associated words with the forms, sounds, meanings as well as multiple functions, and ultimately to demonstrate its distinctions in usage. The character '𠂤' engraved on bones and turtle shells is generally shaped as , which, after careful analysis in this article, is believed to be the pictographic figure representing horses hooves and their imprints, therefore the related OBI characters of should be regarded as corresponding forms of horses, horses movement, and horse-driven chariots. It also can be confirmed by the parse of phrase meaning and grammar rules that the character '𠂤' is mostly used as '師'(Shi) in divination texts, whose meaning and usage are strongly related to the military action. In addition, there is a special way of borrowing sound, which is used in a very rare case. Through the interpretation of this phonetic loan character, we are able to read a large section of divination texts that were once not well understood in the past. This article also discusses the related characters of '𠂤' including '追'(Chase), '官'(Hotel), '遣'(Dispatch), '歸'(Return) and '薛'(Xue), all of which can be explained in a general way that has something to do with horses or chariots. These discussions are sufficient to show that the explanation of '𠂤' as a pictographic character for horse hooves is essentially reasonable. Finally, the job of using as horse hoof to decipher an unfamiliar combination character (consist of Ren 人 Ri 日 Ma 马) is successfully finished too.

“變形音化”是漢字演化過程中一種十分獨特的現象，貫穿漢字發展的各個階段。它是一種“聲化”的手段，但又與“改換聲符”、“添加聲符”等手段不同，在聲化的同時還要顧及字形方面的因素。“變形音化”處於字形和字音的交接點，和“獨體表音字”既有區別又有聯繫。自1991年劉釗在其博士論文《古文字構形研究》中正式提出“變形音化”這一概念以來，學者對該現象多有討論，且有意識地運用到古文字考釋與構形理論研究之中。到目前爲止，各種論著中明確提到的“變形音化”例證已有數百例之多。但學者對“變形音化”內涵的理解以及判斷音近與否的標準並不統一，對一些例證的看法也存在分歧。由於“變形音化”處於字形和字音的交匯點，理論上它也可以用於上古音研究。但截至目前爲止，古音研究中對該材料鮮有涉及。我們認爲其中有兩方面原因。一方面，和諧聲、假借、同源詞等材料不同，“變形音化”中“音近”的尺度不容易把握。同樣是“聲化”，“改換聲符”和“添加聲符”的結果是形聲字，可以作爲諧聲材料使用；但“變形音化”由於需要顧及字形，因此其“聲化”的音近的尺度可能要比諧聲更寬一些。另一方面，變形音化的材料較爲分散，目前還缺乏集中搜集這方面材料的便於參考的工具書。基於以上兩方面的原因，我們認爲有必要對“變形音化”的概念作進一步辨析，對相關例證進行匯總和整理。本文就是這項工作的一個嘗試。本文第一章首先回顧了以往有關“變形音化”的研究成果，並對其中的不足之處做了評析。然後圍繞與諧聲相關的讀音問題做了討論，得出一個討論語音問題的框架。第二章是本文的主體部分。我們將這一章分成“讀音密合的變形音化”和“讀音不密合的變形音化”兩部分，每部分又分爲“商代文字”、“西周文字”、“東周文字”及“秦漢及之後的文字”四個時段，把我們認爲可信的字例依次列舉，並在相應字例下進行說明。我們認爲不可靠的例證，會在“附錄（一）”部分的“備注”一欄作簡短的說明。若問題較複雜，需要花一些篇幅來進行辨析，則將其置於本章第三節“對可能有問題的說法的辨析”。第三章是本文的結論部分。在第二章的基礎上，我們對“變形音化”的內涵做了進一步探討，並强調在研究“變形音化”現象時，要特別注意音系的時代性。變形音化只能增强原來字形的表音能力，但不能分化文字。除了對“變形音化”理論方面的探討外，本文還對一些具體字例的解說提出了新的看法，如“匽”、“弘”、“强”、“施”、“加”、“益”、“聝”、“”等。
Phoneticization-through-deformation ( 變形音化 , henceforth PTD) is an  outstandingly unique phenomenon found in the evolution of Chinese characters,  permeating nearly every stages of the development. It is basically a way of  phoneticization, though distinct from other means, e.g. phonetic component  substitution, phonetic component supplementation, etc., for the reason that the graphic  shape of the character is involved in the process of phoneticization. PTD lies at the  intersection of shape and pronunciation, differing from the so-called "non-composite  phonogram"(獨體表音字) while bearing association with it.  The notion of PTD was first formally proposed by Liu Zhao in his Ph.D.  dissertation Study on the Configuration of Ancient Script(《古文字構形研究》),  triggering much discussions among researchers, as the notion was consciously applied  to the field of ancient script interpretation and the study of configuration theory. Up  until now, the number of explicitly cited instances of PTD in various researches has  amounted to hundreds, yet researchers differ over their understanding of the  phenomenon, as well as the criteria for judging the closeness of pronunciation, and their  opinions concerning some instances remain diverse.  Because of its placement at the intersection of shape and pronunciation, PTD is in  theory susceptible of application in the study of ancient phonetics. Nevertheless, little  reference has been made to PTD materials in the study of ancient phonology to this day.  In our view, the reason is two-fold: on the one hand, unlike materials of phonological  harmony(諧聲), graphic borrowing and cognates, the criterion of phonetic closeness in  PTD is hard to manipulate. Be "phoneticization" as they both may, the result of phonetic  component substitution and phonetic component supplementation is picto-phonetic  characters, which are fully qualified as evidences of phonological harmony, while the  phoneticization of PTD may operate within a broader range of "phonetic closeness"  than phonological harmony, due to the involvement of graphic shape. On the other hand,  materials of PTD are rather scattered. A reference book collecting them is still wanting  at the moment.  In light of what's noted above, we hold that it is necessary to dig further into the  notion of PTD, as well as collecting and sorting out the instances of it, which is what  this dissertation attempts to do.  Chapter 1 reviews the previous work on PTD, with some comments on the  deficiency of them. Afterwards we address the problems concerning phonological  harmony, and a framework of discussing phonetic problem is presented.  Chapter 2 is the main body of this paper, which is divided into two parts, namely  "phonetically close PTD" and "phonetically distant PTD". Each part is further divided  into four sub-parts: Shang Script, West Zhou Script, East Zhou Script, and Script of  Qin, Han and afterwards. All examples we consider convincing are listed in order, with  some illustrations attached to each. Those we deem unreliable will be briefly explained  in the Remarks column of Appendix. If the question in point is complex enough to merit  some length to demonstrate, it will be placed at the third section of this chapter  "Demonstration of some problematic statements".  Chapter 3 concludes this paper. Based on Chapter 2, we further explore the  connotation of "PTD", and emphasize on the need to take into account the timing of a  phonology system as one studies this phenomenon. PTD serves to enhance a character's  ability to represent the pronunciation, but is unable to derive a new character.  In addition to the discussion on the PTD theory, this paper presents new ideas  about the interpretation of some specific tokens, e.g. yan(匽), hong(弘), qiang(强),  shi(施), jia(加), yi(益), guo(聝), etc.

佛教在文学中的影响具有一种普遍渗透性质。以此角度对唐代诗人杜甫著名的“秦州—同谷”组诗做出解读,这样一组常被独立阅读和欣赏的纪行诗,实则隐含了一个觉悟有情的成佛叙事。杜甫的自注把十二首单另的诗凝聚为一个有机的整体,我们按照作者自注所指示的那样把“秦州—同谷”诗作为“组诗”进行阅读,会发现组诗的结构只有在读者读到终篇的时候才得以真正建立,而这一结构正是诗人经历种种磨难最终修炼到觉悟有情的叙事结构。《发秦州》以对孔子的回应开篇与收尾,然而组诗却以追寻—觉悟/自我解脱—自我牺牲的佛教叙事结构贯穿始终。因此,在探讨宗教与文学之间的关系时,虽然可以进行多学科交叉的探讨,但出发点是文学研究还是宗教研究,却会为文本带来不同的观照。如果能够做出文学解读,注重诗人用诗歌形式展示和暗示(而不是直接表达言说)的意义,却反而会看到组诗的宗教精神。

This essay examines the late Shang double-owl-shaped you wine vessels, with a focus on a richly decorated examples. Through formal and contextual analysis, the essay explores the aesthetic and ritual significance of this unique Shang innovation.

成语{痛心疾首}由{痛心}和{疾首}两个词组合而成。卜辞中“疾首”与“首疾”并见。“疾”字在商代甲骨文中就已出现，“病”字则是到了战国时代才出现。在战国出土文献中，“疾”表示的病情比“病”更严重，与《说文》的记载相反。{疾}{病}都是非宾格动词，故在“N1+V+N2”这种句式中，可移位为“N1+N2+V”，且N1和N2有领属关系。{痛}{疼}则是典型的不及物动词，不能带宾语，因此{痛心}{疼心}不符合语法规则。“痛心”“疼心”原本作“疾心”。{疾首}和{疾心}本指生理上的疼痛，在春秋末期引申指精神上的痛苦或痛恨，为了强调一种极度的痛苦痛恨而组合成一个四字成语，为了避复，将{疾心}改成{痛心}，从而组成{痛心疾首}这个成语。{痛心}一词在汉代以后才开始流行，当是从成语{痛心疾首}中分割出来的。

This article explores the Confucian Classics as foundational texts of rhetorical theory and literary practice (wen ben yu jing 文本于經) in East Asia, arguing that their scrip‐ tural authority derives not only from their moral or philosophical content but also from their exemplary literary form. It addresses a scholarly gap concerning the rhetorical di‐ mensions of these texts, especially as interpreted by premodern intellectuals across China, Korea, and Japan. Drawing on case studies of six influential scholars—Liu Xie and Han Yu from Liang and Tang China, Jeong Dojeon and Seong Hyeon from Joseon Korea, and Fujiwara Seika and Ogyū Sorai from Edō Japan—this study examines how each conceptu‐ alized and applied rhetorical principles rooted in the Confucian canon. Methodologically, it combines historical, philological, and comparative analysis of primary sources to trace both shared ideals and divergent approaches in their engagement with the Classics. Find‐ ings reveal that while these thinkers uniformly upheld the sacred literary status of the Confucian texts, they varied in rhetorical application, corpus selection, and the social and ethical aims of writing. This study concludes that these transnational rhetorical practices constitute a distinct intellectual trend within the Sinographic Cosmopolis, challenging dis‐ ciplinary boundaries and reaffirming the central role of literary form in the articulation and transmission of Confucian thought.

In the beginning, there was no crown-only the soil and the sky. And between them knelt a man. He did not hold a scepter. He did not wear silk. He held a bowl, and he offered his breath. Not to gods imagined above, but to the resonance that had always been there-the line, the eye, the voice. This is the image found pressed into bronze, buried for millennia, misread by centuries, and now, at last, recognized for what it is: a sequence of sacred glyphs that chart the transformation of a man into a vessel of Heaven's will.

The limited research in Malay nonverbal predication has predominantly revolved around the two attested copulas 'ialah' and 'adalah'. In fact, there is another grammatical element that appears to serve as a copula to the constituents flanking it, namely 'itu'. Seeing that this distal demonstrative pronoun has never received any attention as a copula in the linguistics literature before, this study investigates the copular use of 'itu' in Malay, focusing on its morphological, syntactic, semantic, and information-structural features within nonverbal clauses. Employing a qualitative approach through the descriptive method in linguistics, the analysis encompasses a range of nonverbal clauses taken from mainstream Malay news portals online to reveal that 'itu' exhibits many copula-like characteristics. Constituent analysis was used to identify the linguistic features of the subject, the predicate, and most importantly 'itu'. Only sentences with a generic subject and a predicate of the grammatical categories NP, AP, or PP were chosen so as to ensure that 'itu' was not associated with the subject and the sentence was nonverbal. Morphologically, itu can combine with 3rd person 'ia' to form a clarifying expression comparable to the embedded copular clause “which is…” in English. Syntactically, 'itu' has the same distribution and behaviour as the other copulas in Malay. Semantically, 'itu' is vacuous, making no contribution to the overall meaning of the clause. Information-structurally, 'itu' does not carry any roles associated with the topic or focus. This research enriches our understanding of Malay linguistic structures, particularly in the underexplored area of nonverbal predication in Malay. Additionally, it provides historical linguists with insights into the evolution of pronominal elements into copulas as it happens. The findings have broader implications for the study of syntactic evolution and typological studies in Austronesian languages and beyond.

“校勘学”在中国的起源通常追溯至刘向，他被视作“校雠”等文献学方法的发明者。然而，学者们也注意到“校”与“雠”二词在更早的文献中已经出现过，特别是法律或行政写本中。通过对传世文献和公元前３世纪末至前２世纪初的出土文献进行考察，本文得以揭示后起的文献学方法的行政来源。本文主张刘向采用了行政与法律领域内既成的方法和术语。在刘向之前，这些方法已经存在了至少二百年。

(This article is a translation of "Collation in Early Imperial China: From Administrative Procedure to Philological Tool", transl. by Zhang Xinyu 张欣毓)

西周诸侯国铜器的生产、流通方式是理解王朝政治、礼制系统的重要途径。本文提出将铜器文化背景、技术、原料三个层次相结合来研究铜器生产、流通的方法。首先对周原遗址、叶家山墓地、晋侯墓地、国墓地出土铜器依照形制和技术两个层次进行系统的分类研究。在此基础上，进行微量元素和铅同位素分析，以建立原料标准。文化背景、技术、原料三个分类体系相互对应以讨论问题。结论认为以叶家山、晋侯墓地为代表的姬姓封国的高质量铜器与周原铜器使用了相同原料，形制、技术极为一致，应来自统一的作坊。另一方面，这些地点的低质量本地式铜器以及以国、倗国为代表的非姬姓封国铜器表现出独特的形制和技术特征，并且使用了不同的铜料但相同的铅料，这代表了诸侯国独立生产铜器的情况。中央集中制作、分配高质量的青铜器给各诸侯国，同时各诸侯国也独自生产少量低质量的青铜器，这应是西周早期就形成的体系。但从西周中期开始，一些诸侯国铜器生产的独立性逐渐增强，中央分配的体系也开始逐步瓦解。

This paper combines results of scientifi c analysis of bronzes and research of bronze inscriptions as well as archaeological remains to discuss the potential copper circulation network between the Jin state and Chu states. According to the latest statistical analysis of trace elements in bronzes, combined with bronze inscriptions such as the Jinjiang ding, this paper suggests that the large amount of copper raw materials consumed in the Jin state during the Late Western Zhou and
Early Spring-and-Autumn period was from the Chu state. Moreover, through the analysis of mining sites in the middle and lower Yangtze river valley and other bronze inscriptions such as the Chugongni chime bell, this paper further suggests that copper consumed in the Chu state might have been off ered by the Dalupu group as tributes. By all these analyses, this paper reconstructs a circulation network of copper from the Dalupu people then to the Chu state and, eventually, to the Jin state.

In recent years, the RLAHA in University of Oxford proposed a “Copper Groups”method to study the circulation of metal material. This paper briefly introduced the principle of the method and used the bronze data of Qianzhangda, Yejiashan, Zhengzhou Shangcheng, Chengyang to verify the feasibility of the method. The results suggest that Copper Groups correspond well with the archaeological background. Furthermore, the paper also discussed the application of this method in the study of Chinese bronzes based on previous studies.

Based on the similarity between historical narratives of the Sargonid dynasty and those of the Chu Empire, the matching of the names and many details, the clues in the Chu history fabricated by the Western Han, this article finds that the first five kings of Chu correspond to those of the Sargonid dynasty, and that King Zhuang of Chu is actually Aššur-uballiṭ, the last prince of the Sargonid dynasty who fled to Chu, the colony of the neo-Assyrian empire in East Asia. The finding is further confirmed by the unearthed bamboo texts and the Song of Chu.  With the recovery of Chu history as a breakthrough, this essay also outlines a reconstructed history of ancient China.

古代史书对先秦时代史事的记载存在诸多问题。有些是由于年代久远,记载失真;有些是由于立场不同,后世记录者利用话语权对前代历史的故意隐瞒或歪曲。《史记》是司马迁对当时所见先秦史料的集大成性著作,具有重要价值,但同样存在上述问题。传统的局限于传世文献范围内的考证无法从根本上解决史料可信性的问题,造成史事众说纷纭。清末以来,甲骨文等大量先秦出土文献面世。随着20世纪中国考古事业的发展,"三重证据法"-以出土文献、考古文物和传世典籍相互印证的古史"新证"成为先秦史研究的重要方法,也为订正《史记》记载的失误、发掘其研究价值提供了新条件。

This paper investigates the graphic origin of the character 父, reviewing previous research and testing proposed hypotheses. According to prior studies, there are five interpretations of this character: the “staff” theory, the “丶 as a phonetic element” theory, the “torch” theory, the “axe” theory, and the “abstract object” theory. The “丶 as a phonetic element” theory is clearly invalid. The most widely accepted theory today is the “axe” theory, but since axes are typically depicted as an 斤 and never as a simple vertical line, this theory should be rejected based on the principle of “same shape is same object; different shape is different object”. The “staff” theory and “torch” theory are constrained by the a priori assumption that the shape 父 must be a representation of ‘father’ and are therefore speculative in their connection to father. The “abstract object” theory is the most plausible, as it fits well with the depiction involving a simple vertical line. By comparing it to characters that are graphically similar to 父, it is demonstrated that the character 父 was originally created to represent the word bǎ (把).

阮元（1764—1849）是清代考证学的代表人物之一，他属于乾嘉学派中的扬州学派，在治学路径上阮元和其他乾嘉学派学者一样主张“汉宋兼采”。但是阮元与其师戴震、同辈焦循更侧重义理的路径不同，阮元治学显然更注重训诂。另外，在音韵学、字义学、语法学等多个训诂学领域中，阮元把重点放在了字义学上。因此除了《经籍纂诂》之外，他也撰写了与儒家哲学的主要概念“仁”相关的专门著作——《论语论仁论》。《论语论仁论》具有“以训话明义理”的显著特征，通过这部著作他建构了独特的“仁学”体系。阮元的“仁学”思想主要有三个特点：第一，他以人际关系基础理解仁——所谓“相人偶”；第二，他强调了仁学形而下的一面，即现实世界中仁的实践；最后，他提出了“大仁”的概念，构建了仁的实践层次。从阮元仁学的前两个特征与韩国学者丁若镛的仁学观，点具有相似性这一点来看，可以找出东亚经学具有普遍性的根据。另一方面，阮元强调仁的实践的同时还提出“大仁”的概念，提出了将一次性实践扩大，即“拓宽仁的实践对象”的思想基础（foundation）；相反，日本荻生徂徕虽然也同样强调仁的实践不应有局限性，但他并没有在仁的内涵中设定其他的概念、层差。从这一点来看，阮元的仁学思想展现了其在东亚经学领域内的独特性。

By identifying about four hundred signs of the Indus Script with the characters of the Oracle Bone Script, the Indus Script is largely deciphered. The decipherment is verified with the corresponding Sumerian words and signs which most of the Indus signs were semantically derived from. Further confirmation is contextually found from Sumerian literature, Oracle Bone texts, ancient Chinese literature, and the Old Testament.

国家图书馆藏《春秋释例》清抄本四册，第一、三、四册是孔继涵借翰林院纂修官杨昌霖初辑《永乐大典》成果抄录的副本，保留了杨昌霖初辑时的案语批注，孔继涵、广栻父子的初校批点以及孔广栻获得殿本《释例》后的补校考证；第二册抄录时间晚于前者，吸收了第三、四册的初校成果，调整了正文格式，据行款与内容推断，是孔继涵刊刻《微波榭丛书》本《春秋地名》《春秋长历》的底本。初辑录副本保留了《释例》的部分篇次，可推知《释例》篇序是按经文之传有相应发凡解礼之例的原则进行编排，从而发现馆臣妄改篇序之谬；存录了被馆臣误删的“弑戕例”篇题及经传，可据此揭橥《释例》归并《春秋经传集解》例目的编纂原则。全面考察从初辑本到四库本之间的处理细节，可知馆臣辑佚并非单纯地移录文献条目，而是用更为灵活的手段复原《释例》。

What were the Andronovo culture of the Eurasian steppes doing in the Philippines over 3,000 years ago? This paper explores the historical narrative behind the events that would lead to these ancient connections, as well as the evidence of the artifacts found on our Islands.

This is the first book in a series wherein Late Shang to Zhou dynasty ritual bronze vessels with inscriptions that have been found in the Philippines will be documented including: details, background, photographs, inscriptions, relevant and historical information. Part 1 focuses on bronze ritual wine vessels with inscriptions that have been unearthed in the Philippines.

基于GIS技术制作《纪要地图集》缘起于扩充中国历史时空资讯平台之构想，鉴于成书于清初的《读史方舆纪要》着眼于分述明代各级政区辖下地名之区位特性与史事沿革，利于作为平台既有数字化历史地图在精度与广度延展的依据，因而思索运用GIS技术进行文本数据与地图的整合工作。在地图制作过程中，需要收集、整理各项地理数据，据以进行地名考证与位置标定，相关技术问题有赖多方考虑、持续确认适用之作业规范。本研究综合应用传统历史考据知识、数字典藏以及GIS技术，不仅在于编制地图集，亦期形成历史地名研究与历史地图数据库建置方法之一范式。

The regional economic and cultural features recorded in Biography of Merchants in Historical Ｒecords were the summary of Sima Qian on the conventional Chinese space structure of Yu Gong and his fieldwork，reflected the characteristics during the
golden age of West Han Dynasty． The four major economic regions are Shanxi，Shandong，Jiangnan，and the north area from Longmen and Jieshi，partitioned on the natural boundaries of mountains and rivers，and each divided into several sub-regions considering
the features like products，natural resources，customs or routes for transportation． This paper tried to collect related resources to
clarif the locations of the historical place names and geographical divisions involved in the text of Biography of Merchants in Historical Ｒecords，and used GIS for integrating the digital data，including historical place names，rivers，terrain and other basic map layers，and combining text contents for map presentation，so as to get an overview of the spatio-temporal significance of geographical
and cultural characteristics of the regional economic appearance．

Among the research results on the format of the Western Zhou Dynasty inscriptions in recent years, there is a type of inscription called "Qizhu yue" 器主曰 that has received attention. For the discussion of this inscription format, some scholars define this inscription format from the theme and format, while others define this inscription format in the form of "Qizhu yue." There are broad and strict differences in the two aspects. Starting from the concept of Martin Kern's "traditional public language repository," this paper analyzes from the perspectives of "structure" and "words," and distinguishes the inscriptions "Shu Zu" 述祖 in the form of "Qizhu yue." The content and structure of such inscriptions are often written in the columns of "Virtues of Ancestors," "Ancestors Helping Kings," "Virtues of Descendants Follow Ancestors' Virtues," "Specific Actions of Descendants," and "Rewards of Kings," each of which follows a similar pattern. The term usages are also repeated, highlighting what makes the genre special.