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任群 ( Ren Qun ),金鍾其 ( Jongki Kim ) 사단법인 아시아문화학술원 2021 인문사회 21 Vol.12 No.4
隨著經濟的全球化發展, 各國之間的交流互動變得頻繁, 而陶瓷貿易交流是唐代的中國與國外文化交流的第一個高峰, 也表現出相互影響和融合的特點。中國銅官窯是唐代著名的商業性外銷瓷窯, 其陶瓷產品沿海上絲綢之路遠銷東亞、南亞、西亞、北非等地, 創造了一千多年前藝術與商品結合的典範。本文以跨文化貿易與交流歷史語境中的銅官窯陶瓷文化為研究對象,目的是分析銅官窯陶瓷在造型、紋飾、色彩等方面表現出的跨文化特點。通過文獻研究、對比研究等方法,找到銅官窯陶瓷文化元素的文化淵源、傳播路徑以及內在的關聯。結果證明銅官窯陶瓷在向外傳播的同時,與外銷各國人民進行了文化互動,其產品受伊斯蘭、佛教藝術的影響而獨具特色, 銅官窯成功的秘訣在於其兼收並蓄、大膽創新的跨文化設計, 本文對其跨文化元素進行梳理與研究, 這對於當代跨文化產品設計將提供重要的參考借鑒作用。 With the development of economic globalization, the exchanges and interactions between countries became frequent, and the ceramic trade exchange was the first peak of cultural exchanges between China and foreign countries in the Tang Dynasty, which also showed the characteristics of mutual influence and integration. The Chinese Tongguan kiln was a famous commercial export porcelain kiln in the Tang Dynasty. Its products created a model of the combination of art and commodities more than 1,000 years ago. This paper takes the culture of Tongguan kiln ceramics in the historical context of cross-cultural trade and communication as the research object, aiming to analyze the cross-cultural characteristics of Tongguan kiln ceramics in modeling, decoration, color and other aspects. Through literature research, comparative study and other methods, the cultural origin, transmission path and internal correlation of the cultural elements of tongguan kiln ceramics are found. It proves that Tongguan kiln ceramics had cultural interaction with the people of export countries while spreading abroad, and its products were unique under the influence of Islamic and Buddhist art. The secret of the success of Tongguan kiln lies in its eclectic, bold and innovative cross-cultural design. This paper combs and studies its cross-cultural elements, which will provide an important reference for contemporary cross-cultural product design.
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曲垚木 중국어문학회 2023 中國語文學誌 Vol.- No.82
The idea of “emptiness” is Lu Xun’s philosophical thinking on life, and it is a highly condensed expression of his philosophy of existence. As one of the most important roots of Chinese traditional culture, Buddhist culture played a pivotal role in the formation and development of Lu Xun’s “emptiness” thought. Starting from the close relationship between the philosophy of existence centered on the idea of “emptiness” and Buddhist culture, this paper detects the clear traces of Buddhist culture’s participation in the construction of Lu Xun’s “emptiness” thought, discusses the profound origin relationship between Lu Xun’s “emptiness” thought and the Buddhist concept of “Kong”, and exemplifies the high degree of consistency between the two thoughts from three aspects. On this basis, through Lu Xun’s life choice of rejecting the “the other side” and clinging to “this side” and the practice deeping into the world, the essential difference between Lu Xun’s “emptiness” thought and Buddhist culture was discovered, that is, resisting emptiness. This article re-examines Lu Xun from the perspective of Buddhist culture, supplements and improves the important connotation of his emptiness thought, on the one hand, it revises the view that “emptiness” is simply attributed to “nihility” in previous research, also provides a reference for people facing complex ideological and cultural choices through Lu Xun’s selection and sublation of Buddhist culture.
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조송식 중국인문학회 2009 中國人文科學 Vol.0 No.42
本論文要追踪西藏美術的特点中唐卡的起源和历史的展开。首先, 整理有关起源的种种争论要帮助对于唐卡的理解。唐卡是在西藏固有而生的? 还是佛教从邻国传进来的? 后者是两个一起合起来而生的? 本論文从研究史的方面考察了这样的问题。而且考察了唐卡的历史展开。唐卡是作为传播宗教文化的载体主要拜佛的时候挂在寺庙,佛堂,民间的扃堂里供养和修养的东西。佛教宗教国家的西藏的历史是因为随着佛教的发展和教派而多样发展了,所以唐卡也随着佛教的发展和教派而展开来了。如果那样, 在西藏美术史里怎样分成唐卡的划分时代? 我认为这样的研究是为了理解唐卡很有效的接近方法之一。本論文考察了最近在中国一般分成的五個时代,即吐藩王朝時代(7-9世紀), 分裂割據時代(10-13世紀), 薩迦時代(13-14世紀), 帕木竹巴時代(15-16世紀), 甘丹頗章時代(17-19世紀)。这个时代分类,根据唐卡的形式特征可以試從下述五個方面,即唐卡的形成、 佛教文化的仰慕和发展、 唐卡的连续、 佛教会话的典型期、 西藏绘画的规范化等。在这样的历史考察看来,西藏唐卡的特点可以整理两大方面。第一是形式的特点。由于地理因素,西藏唐卡是向西远远地伊朗和剋什米爾、 向南印度和尼泊爾、 向东因为受到中国的影响,在初期显示了国际性质的形式。可是,时代传下来,因为在政治上的强烈的中国的影响下,走进了中国的倾向。第二是图像的特点。西藏佛敎,一边在印度形成而现在已消失,吸纳了在中国传不进来所以很难看见其痕迹的印度后期佛教,一边把它融合与西藏传统本敎而形成独特的西藏佛教一样,唐卡的图像也显示这样的特点,在是世界上实现了一个很独特的方面。
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중국 舟山群島 嵊泗島의 어민 생활 어휘를 통해 본 민속 문화
모정열,손다빈 중앙대학교 외국학연구소 2012 외국학연구 Vol.- No.22
嵊泗的渔民生活用语里拥有着他们的心情与思绪,同时包含着渔民生活的模样、内在信仰和价值观等的文化特色。在本论文中,努力寻找了舟山群岛嵊泗岛渔民生活中反映的有特色词汇,以及想要表现其中内在的渔民情绪和民俗文化。以下是嵊泗岛渔民生活词汇中反映出来的几点特征。首先,在词语的使用上具有浓厚 “海洋” 的特征及地方的色彩。在嵊泗岛的渔民生活词汇中很容易找出具有地域风趣或独特的海洋民俗文化的词语以及多样的与渔业有关的词语。第二,海龙王信仰是嵊泗渔民的主要信仰之一,生产了很多关联的词语。很久以前渔民们认为海龙王是海洋里面的天子,并且主管他们的吉凶祸福。嵊泗渔民还在称自己是龙子,这是很九以前就形成的信仰意识。第三,有部分词汇反映嵊泗渔民特有的传统观念和价值观念,以及渔民的生活情况。第四,因为以渔捞为生计手段的渔民们对预测不了的自然产生了恐惧,所以想依靠信仰海神或龙王、佛教菩萨来消除恐惧。这样的信仰又再次创造了很多的忌讳词。嵊泗的大部分忌讳词中反映着要避免渔捞的过程中威胁丰收或安全的自然现象的忌讳心理。
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金洪培(Kim, Hong-Bae),金昌?(Kim, Chang-Gyeong) 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.33
37BC at the place called GESHENG city the Koguryoregime was established by the first ancestor ZHUMENG. This content was recorded by <WeiShu Koguryo>, <History of three Kingdoms>, <Heritage of the three Kingdoms> etc. MuRong Xianbei belong to the east Xianbei in the sixteen countries period the established the QianYan, HouYan, BeiYan, XiYan, NanYan etc. regime. Among them the QianYan, HouYan, BeiYan was the local government in the center of the northeast China in the history called "Three-Yan". Since the rebellion of JinYongJia, Murong Xianbei has risen in Liaoxi. At the meantime Koguryo wanted to enlarge its forces to Liaodong. Both countries were located in the same place and bordered on each other. A war, lasted for hundred years, was started. At the beginning Murong Xianbei pursued the strategy of "Respect Jin" and carried out "The Revolution of Han-ification of the Chinese Fringe", the national was becoming more powerful and prosperous. Later Koguryo had taken over Murong Xianbei, occupied the area of Liaodong. The area of Liaodong was under the control of Koguryo until its perish. Although Koguryo was hostile to Three-Yan in history, there was a peaceful situation between the two countries. Because Koguryo had a contiguous territory with Three-Yan, among the three countries, the literacy infrastructure of Murong Xianbei was on the highest level, they had an influence each other"s culture. According to the research, the first country believed in Buddhism was Morong Xianbei among East Races. Although the exact time was uncertain, it can still be speculated with the existing materials. After Buddhism spread to Three-Yan, a "Three-Yan Buddhism Culture" was formed combined with the culture of Murong Xianbei. Then it was introduced to Koguryo. The communication and population mobility was not only existed in the peace time, but also in the time of war. In a sort of sense it promoted the culture exchange. Koguryo Buddhism was the influence of Three-Yan Buddhism. This kind of Buddhism also with MuRong Xianbei culture, then after Koguryo Buddhism introduced and influence into Baekje and Silla, even Japanese islands.
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