《日書》圖像研究

Abstract

本論文的題目是「《日書》圖像研究」，研究主體是《日書》中以干支為座標體系的式圖，及各種以線條、符號、圖畫組成的圖像，將這些材料從眾多的出土文獻中撿擇出來，歸納在一起使之成為獨立的子題，並按照時代加以排列，考察發展演變的脈胳。 第一章「導論」，說明研究動機，簡介相關出土文獻，回顧前人研究概況，並陳述撰寫的若干想法。 第二章「《日書》表示時空的圖式」，本章探討《日書》以干支表示時空座標體系的式圖，同時聯繫日者使用器具式盤，認為式盤的原始形制可能源自於式圖，是以鉤繩圖作為主要結構，直到西漢初年受到蓋天說的影響，式盤才固定以內圓外方表示天圓地方。 第三章「《日書》表示時空的圖畫」，主要依據日序、六十甲子、十二地支為占。圖畫可以區分為五個類型：第一型圖畫是由一列線條組成，第二型是在圖畫上佈列六十甲子，第三型需要在圖畫之中填入時日等訊息，第四型是以環繞圖畫計數的方式進行，第五型是以圖畫來標示方位。 第四章「《楚帛書》表示時空的圖式」，《楚帛書》應是《論衡•譏日》裡的「歲月之傳」。其十二神像疑與《後漢書•禮儀志》所載歲末大儺「十二獸」有關，用以驅逐疫鬼。依據當時的佈圖習慣，《楚帛書》應以「上南下北」為正，先讀中間的八行文，次讀十三行文，然後才讀邊文，從代表正月的「取於下」開始。 第五章「結語」，說明論證的總結，及未來研究的展望。 希望本論文的撰寫，對《日書》各種圖像的內涵與源流，有更為深入的認識，同時建立系統的研究，在戰國至西漢的思想文化方面，提供一種新的角度或是視野。

The main theme of this paper is Patterns of the Almanacs (Ri-Shu). The research subject include a formula maptaking heavenly stems as coordinate system in “Ri Shu” and patterns composed of lines, symbols and pictures of all types. These materials are picked out from numerous unearthed literatures to construct independent sub themes through summarization and then sequenced according to times for investigation of development and evolution traces. Chapter one is introduction which describes research motivation, briefly introduces relevant unearthed literature, reviews research status in the past, and presents some opinions related to the compilation. Chapter two is pattern representing time and space in Ri Shu, which mainly discusses the formula map with coordinate system in which heavenly stems are used to represent time and space in Ri Shu, and then in connection with apparatus formula disk used by Ri Zhe, it believes that original shape of formula disk possibly comes from the formula map mainly composed of hooked rope diagram as its main structure. Until affected by the theory of canopy heavens in beginning of Western Han period, formula disk has been formally decided that its inner circle and outer square represent round top and square bottom respectively. Chapter three is picture representing time and space in Ri Shu which is mainly based Rixu, sixty Jiazi and twelve earthly branches. The pictures are divided into five types: pictures in first type are composed of a row of lines; second type is arranged with sixty Jiazi on the pictures; the third one is to fill in time and date information into pictures; the forth one is to calculate the number of circled pictures, fifth type is to label orientation by pictures. Chapter four is pattern representing time and space in Chu Silk Book. Chu Silk Book should be one legend of times in Jiri episode of Lunheng Book. Its twelve god sculptures are suspected to have relevance with twelve animals mentioned in one large ancient festival for celebrating gods driving away the plague held at the end of year that listed in etiquette session of Hou Han Book, with the purpose of dispelling plague ghosts. According to the habit of arranging maps at that time, Chu Silk Book should take upper north and lower south as its front side, read from characters in middle eight lines firstly, followed by those in thirteen lines and then to characters in lateral sides starting from “Take from beneath” representing the first moon. Chapter five is conclusion which describes summary of evidences and expectation in future research. It is hoped that through compilation of this paper, readers can deeply understand implications and origins of patterns in Ri Shu and establishes a systematic research for providing a new perspective or sight with respect to thinking cultures from War Period to Western Han Period.