作者:
Jr. Robert E. Harrist 出版社: University of Washington Press 副标题: Stone Inscriptions from Early and Medieval China 出版年: 2008-5-9 页数: 424 定价: USD 60.00 装帧: Hardcover ISBN: 9780295987286
This is the first study in a Western language devoted to one of the most visually distinctive features of the landscape in China--moya or moya shike, texts carved into granite boulders and cliffs that are part of the natural terrain at thousands of sites of historic or scenic interest. These inscriptions, carved in large, bold characters, served as a vast repository of texts pr...
This is the first study in a Western language devoted to one of the most visually distinctive features of the landscape in China--moya or moya shike, texts carved into granite boulders and cliffs that are part of the natural terrain at thousands of sites of historic or scenic interest. These inscriptions, carved in large, bold characters, served as a vast repository of texts produced continuously for over two thousand years and constitue an important form of public art. Focusing on the period prior to the eighth century C.E., Harrist demonstrates that the significance of the inscriptions depends on the interaction of words with topography, so that the medium of the written work has transformed geological formations into landscapes of ideological and religious significance.
作者简介
· · · · · ·
韓文彬 Robert E. Harrist Jr. 普林斯頓大學博士。現任教於哥倫比亞大學藝術史系。主要研究早期中國書法史，中國書畫的複製現象等。
目录
· · · · · ·
Acknowledgments
Note to the Reader
Chronology of Chinese Dynasties
Introduction: Writing on the Bones of the Earth
Chapter One. Public Works and Public Writing at the Stone Gate
Chapter Two. Roaming with Immortals on Cloud Peak Mountain
· · · · · ·
(更多)
Acknowledgments
Note to the Reader
Chronology of Chinese Dynasties
Introduction: Writing on the Bones of the Earth
Chapter One. Public Works and Public Writing at the Stone Gate
Chapter Two. Roaming with Immortals on Cloud Peak Mountain
Chapter Three. The Virtual Stele on Mount Tie and the Merits of Scale
Chapter Four. Imperial Writing and the Ascent of Mount Tai
Chapter Five. Postscript
Chinese Texts
Abbreviations
Notes
Glossary of Chinese Characters
Bibliography
Index
· · · · · · (收起)
[L]andscape is not a natural phenomenon but a product of human nature, generated through what Simon Schama has called "our shaping perception" of the raw material of nature?
The most important thing to remember about any Roman inscription is that it is inscribed on something. (Lawrence Keppie) (查看原文)
[Moya Inscriptions] are not only texts but also destinations that require what might be termed peripatetic reading, achieved only by moving through place. (查看原文)
What the carving of these designs produced, "making brilliant" the surface of the stone, was a two-dimensional representation of a colossal stele.
2015-07-28 20:51:27
What the carving of these designs produced, "making brilliant" the surface of the stone, was a two-dimensional representation of a colossal stele.引自 The Virtual Stele on Mount Tie
While the content of "Opening the Bao-Xie Road" echoes that of administrative documents inscribed on silk, bamboo, or wood, as well as records of manufacture placed on portable objects of bronze, lacquer, or other media that were used in private settings, the intended readership of the inscription, determined by its material, size, and format, was radically different.
2015-07-14 21:53:13
While the content of "Opening the Bao-Xie Road" echoes that of administrative documents inscribed on silk, bamboo, or wood, as well as records of manufacture placed on portable objects of bronze, lacquer, or other media that were used in private settings, the intended readership of the inscription, determined by its material, size, and format, was radically different.引自 Public Works and Public Writing at the Stone Gate
The referential logic of the inscription, shaped by its content and its location, was like that of seals, signature, and records of manufacture placed on objects produced by palace and private workshops in early China.
2015-07-14 21:40:42
The referential logic of the inscription, shaped by its content and its location, was like that of seals, signature, and records of manufacture placed on objects produced by palace and private workshops in early China.引自 Public Works and Public Writing at the Stone Gate
[L]andscape is not a natural phenomenon but a product of human nature, generated through what Simon Schama has called "our shaping perception" of the raw material of nature? The most important thing to remember about any Roman inscription is that it is inscribed on something. (Lawrence Keppie)
2015-07-12 12:47:51
[L]andscape is not a natural phenomenon but a product of human nature, generated through what Simon Schama has called "our shaping perception" of the raw material of nature?
The most important thing to remember about any Roman inscription is that it is inscribed on something. (Lawrence Keppie)引自 Introduction
[Moya Inscriptions] are not only texts but also destinations that require what might be termed peripatetic reading, achieved only by moving through place.
2015-07-12 15:27:35
[Moya Inscriptions] are not only texts but also destinations that require what might be termed peripatetic reading, achieved only by moving through place.引自 Introduction
Buddhist sacred texts were understood as embodiments of the Buddha's presence; in the light of this belief, a sutra carved on a mountain was worthy of the same veneration directed toward relics and icons.
2015-07-12 15:52:00
Buddhist sacred texts were understood as embodiments of the Buddha's presence; in the light of this belief, a sutra carved on a mountain was worthy of the same veneration directed toward relics and icons.引自 Introduction
The referential logic of the inscription, shaped by its content and its location, was like that of seals, signature, and records of manufacture placed on objects produced by palace and private workshops in early China.
2015-07-14 21:40:42
The referential logic of the inscription, shaped by its content and its location, was like that of seals, signature, and records of manufacture placed on objects produced by palace and private workshops in early China.引自 Public Works and Public Writing at the Stone Gate
What the carving of these designs produced, "making brilliant" the surface of the stone, was a two-dimensional representation of a colossal stele.
2015-07-28 20:51:27
What the carving of these designs produced, "making brilliant" the surface of the stone, was a two-dimensional representation of a colossal stele.引自 The Virtual Stele on Mount Tie
While the content of "Opening the Bao-Xie Road" echoes that of administrative documents inscribed on silk, bamboo, or wood, as well as records of manufacture placed on portable objects of bronze, lacquer, or other media that were used in private settings, the intended readership of the inscription, determined by its material, size, and format, was radically different.
2015-07-14 21:53:13
While the content of "Opening the Bao-Xie Road" echoes that of administrative documents inscribed on silk, bamboo, or wood, as well as records of manufacture placed on portable objects of bronze, lacquer, or other media that were used in private settings, the intended readership of the inscription, determined by its material, size, and format, was radically different.引自 Public Works and Public Writing at the Stone Gate
The referential logic of the inscription, shaped by its content and its location, was like that of seals, signature, and records of manufacture placed on objects produced by palace and private workshops in early China.
2015-07-14 21:40:42
The referential logic of the inscription, shaped by its content and its location, was like that of seals, signature, and records of manufacture placed on objects produced by palace and private workshops in early China.引自 Public Works and Public Writing at the Stone Gate
1 有用 噜 2012-11-18 10:18:07
提出单纯研究拓本的局限，主张将摩崖放回到原来的山水之中进行解读，还可以顺便爬爬山旅行一个神马的。。。最后不忘吐槽了一下party的题字。。。
1 有用 野次馬 2018-05-21 03:22:47
有用，但是编校错误太多，段落重出随处可见。什么时候再去陕西要去一次汉中博物馆。四章分别处理石门、云峰山、铁山和泰山，中间两章有意思。讨论过程很像是“摹拓”这一工序的逆转，把规格、环境重新纳入考量范围，是所谓“空间转向”、“总体艺术”的绝佳范例。但总的来说描述性篇幅多于分析。
2 有用 涉江 2020-06-20 17:55:44
很优雅的研究。作者接续《万物》中对汉字的讨论，将古代中国视为“文字书写的帝国”，而此基础上，摩崖在作者的阐释中也就有了更深刻的含义。摩崖的意义有二，向内改变了山地景观的外观与内在属性，且暗含永恒的期望；向外则是一种权威与认同的展示。而就摩崖自身的属性而言，作者就其与石碑进行了多次辩证对比，如将铁山刻经称作“虚拟石碑”，以及将宋代之后的文人偏爱摩崖阐释为相较于碑刻，摩崖没有太多礼仪与位置的限制。 如... 很优雅的研究。作者接续《万物》中对汉字的讨论，将古代中国视为“文字书写的帝国”，而此基础上，摩崖在作者的阐释中也就有了更深刻的含义。摩崖的意义有二，向内改变了山地景观的外观与内在属性，且暗含永恒的期望；向外则是一种权威与认同的展示。而就摩崖自身的属性而言，作者就其与石碑进行了多次辩证对比，如将铁山刻经称作“虚拟石碑”，以及将宋代之后的文人偏爱摩崖阐释为相较于碑刻，摩崖没有太多礼仪与位置的限制。 如言不足，其一是对金石学的批判多于反思，其二是过于强调摩崖的可被观看，正如阿部贤次所言，能看懂摩崖的依然是少数，而多数的看法则需要进一步讨论。但不可否认的是，本书是一部“总体艺术”研究的范例，作者对空间及空间内各因素互动的深入体察无疑是值得学习与借鉴的。 (展开)
0 有用 缁衣 2020-05-31 15:16:24
从汉代到当代
0 有用 Gillian 2020-10-05 03:52:46
介紹了早期磨崖石刻的幾個個案，唯獨感覺章節之間的聯繫略小。
0 有用 苦影 2021-02-24 23:57:08
第二、三章最为精彩；后两章相比之下略弱。总体来讲，韩文彬的原境意识与对于书写的细腻揣摩在此得到了相当好的融合，在对摩崖刻石的内容及字体进行了相对深入的讨论后，作者又适时的从近观中抽身，向后退却几步，揣测往昔的观者是如何在山中与这些文字相遇的，我个人很喜欢这部分。文字崇拜是一个非常值得关注的课题，无论是在中国古典文化传统，还是在作者所引的佛经崇拜中（作者将佛经喻为舍利一般的、神的部分），文字似乎已经... 第二、三章最为精彩；后两章相比之下略弱。总体来讲，韩文彬的原境意识与对于书写的细腻揣摩在此得到了相当好的融合，在对摩崖刻石的内容及字体进行了相对深入的讨论后，作者又适时的从近观中抽身，向后退却几步，揣测往昔的观者是如何在山中与这些文字相遇的，我个人很喜欢这部分。文字崇拜是一个非常值得关注的课题，无论是在中国古典文化传统，还是在作者所引的佛经崇拜中（作者将佛经喻为舍利一般的、神的部分），文字似乎已经超出了象征和符号意义，成为神迹本身。个人认为，韩文彬此处的立意，相较于柯律格所言的“作为视觉文化的文字”，要更为准确和深入——他发掘出了根植于中国文化传统中的、文字的宗教性意义。于是，刻石成为区分人类世界与自然世界的标志，人为的摩崖反过来重新界定其所处地点——如题所言，是言辞的地点，而非地点的言辞。 (展开)
0 有用 Gillian 2020-10-05 03:52:46
介紹了早期磨崖石刻的幾個個案，唯獨感覺章節之間的聯繫略小。
0 有用 Advenue 2020-06-25 05:16:20
Harrist的writing自不必说，流畅轻盈，是某些native speaker（like Clunas）都无法比肩的。即便如此，读这本书的时候还是感受到了艺术史写作的一个怪圈：看上去说了很多，其实也没说什么。这本书是以五个case串联而成，但case study如果缺乏对不同材料之间有机关系的经营，就很容易显得松散，沦为材料的堆积。这个现象在巫鸿的作品，尤其是《废墟的故事》里尤为明显，以至于... Harrist的writing自不必说，流畅轻盈，是某些native speaker（like Clunas）都无法比肩的。即便如此，读这本书的时候还是感受到了艺术史写作的一个怪圈：看上去说了很多，其实也没说什么。这本书是以五个case串联而成，但case study如果缺乏对不同材料之间有机关系的经营，就很容易显得松散，沦为材料的堆积。这个现象在巫鸿的作品，尤其是《废墟的故事》里尤为明显，以至于材料变为了主题的fragments，成为了主题的废墟。 (展开)
2 有用 涉江 2020-06-20 17:55:44
很优雅的研究。作者接续《万物》中对汉字的讨论，将古代中国视为“文字书写的帝国”，而此基础上，摩崖在作者的阐释中也就有了更深刻的含义。摩崖的意义有二，向内改变了山地景观的外观与内在属性，且暗含永恒的期望；向外则是一种权威与认同的展示。而就摩崖自身的属性而言，作者就其与石碑进行了多次辩证对比，如将铁山刻经称作“虚拟石碑”，以及将宋代之后的文人偏爱摩崖阐释为相较于碑刻，摩崖没有太多礼仪与位置的限制。 如... 很优雅的研究。作者接续《万物》中对汉字的讨论，将古代中国视为“文字书写的帝国”，而此基础上，摩崖在作者的阐释中也就有了更深刻的含义。摩崖的意义有二，向内改变了山地景观的外观与内在属性，且暗含永恒的期望；向外则是一种权威与认同的展示。而就摩崖自身的属性而言，作者就其与石碑进行了多次辩证对比，如将铁山刻经称作“虚拟石碑”，以及将宋代之后的文人偏爱摩崖阐释为相较于碑刻，摩崖没有太多礼仪与位置的限制。 如言不足，其一是对金石学的批判多于反思，其二是过于强调摩崖的可被观看，正如阿部贤次所言，能看懂摩崖的依然是少数，而多数的看法则需要进一步讨论。但不可否认的是，本书是一部“总体艺术”研究的范例，作者对空间及空间内各因素互动的深入体察无疑是值得学习与借鉴的。 (展开)
0 有用 缁衣 2020-05-31 15:16:24
从汉代到当代