城市化帶給中國人漂泊無根之感，田園已經凋敝，城市又難以安居。無數人就這樣一直流浪。其實，這也是今天中國很多事情的狀態，整個社會都進退失據，進退兩難。
領頭字
| |
|---|---|
| 屏 | |
解形
| |
| 《說文》：“屏，敝也。从尸，并聲。” | |
注音
|
釋義
|
| （一）ｐｉｎｇ２《廣韻》薄經切，平青並。耕部。 | （１）
當門的小墻；照壁。《爾雅‧釋宮》：“屏謂之樹。”郭璞注：“小牆當門中。”清朱駿聲《說文通訓定聲‧鼎部》：“（屏）亦謂之塞門，亦謂之蕭墻，如今之照
墻也。”《荀子‧大略》：“天子外屏，諸侯內屏。”《淮南子‧時則》：“授車以級，皆正設于屏外。”高誘注：“屏，樹垣也。”晉左思《魏都賦》：“廈屋一揆，華屏齊榮。”
（２）墻；屏障之物。唐玄應《一切經音義》卷二十引《倉頡篇》：“屏，牆也。”《詩‧大雅‧板》：“大邦維屏，大宗維翰。”晉左思《魏都賦》：“長世字甿
者，以道德為藩，不以襲險為屏也。”唐白居易《冷泉亭記》：“山樹為蓋，巖石為屏，雲從棟生，水與階平。”金元好問《過晉陽故城書事》：“只從巨屏失光彩，河洛幾度風煙昏。” （３）屏風。《世說新語‧言語》：“北窗作琉璃屏，實密似疏。”唐元稹《春別》：“雲屏留粉絮，風幌引香蘭。”聞一多《二月廬》：“面對一幅淡山明水的畫屏。” （４）字畫的條幅。如：條屏；掛屏；字著屏。《老殘遊記》第九回：“抬頭看見北牆上掛四幅大屏，草書寫得龍飛鳳舞。”巴金《家》十一：“他叫四叔寫一堂壽屏準備給他底老友馮樂山送去。” （５）類似畫屏那樣的東西。如：熒光屏。 （６）城角和闕上的小樓。《廣雅‧釋宮》：“罦罳謂之屏。” （７）星名。《晉書‧天文志上》：“屏四星在端門之內，近右執法。屏，所以雍蔽帝庭也。” |
| （二）ｂｉｎｇ３《廣韻》必郢切，上靜幫。耕部。 | （１）退避。《禮記‧曲禮上》：“就屨，跪而舉之，屏於側。”《史記‧魏其武安侯列傳》：“魏其謝病，屏居藍田南山之下數月。”宋王安石《答孫莘老書》：“丘園自屏，煩公遠屈，衰疾不獲奉迓。”
（２）蒙蔽；隱瞞。《左傳‧昭公二十七年》：“屏王之耳目，使不聰明。”《新唐書‧王世充傳》：“世充屏不奏。” （３）保護。《左傳‧襄公二十九年》：“晉國不恤周宗之闕，而夏肄是屏。”《漢書‧王莽傳》：“周公屏成王而居攝，以成周道。”顏師古注：“屏，猶擁也。”唐元稹《贈鄭餘慶太保》：“而今而後，誰其屏余。” （４）隱藏；收藏。《書‧金縢》：“爾不許我，我乃屏璧與珪。”孔傳：“屏，藏也。”《宋史‧趙普傳》：“六年，帝又幸其第。時錢王俶遣使致書於普，及海物十瓶，置於廡下。會車駕至，倉卒不及屏，帝顧問何物，普以實對。” （５）隱蔽的（屋室）。也作“庰”。《文選‧張衡〈思玄賦〉》“坐太陰之庰室兮，慨含唏而增愁”唐李善注：“屏與庰古字通。《說文》曰：‘庰，蔽也。’” 《資治通鑑‧宋孝武帝大明二年》：“父有過，子何不作書於眾中諫之，而於私室屏處諫者，豈非不欲其父之惡彰於外邪！”胡三省注：“屏，蔽也。” （６）抑止。《論語‧鄉黨》：“屏氣似不息者。”唐韓愈《送窮文》：“屏息潛聽，如聞音聲。”巴金《家》二十六：“她屏住呼吸，不做出一點聲音。” （７）除去；排除。《詩‧大雅‧皇矣》：“作之屏之，其菑其翳。”陸德明釋文：“屏，除也。”三國蜀諸葛亮《自表後主》：“屏黜姦讒，以厚風俗。”清黃宗羲《封庶常桓墅陳府君墓誌銘》：“謹身節用，膏粱氣息，不屏自遠。” （８）放逐。《玉篇‧尸部》：“屏，放去也。”《禮記‧王制》：“屏之四方，唯其所之。”鄭玄注：“屏，猶放去也。”《史記‧范雎蔡澤列傳》：“賈有湯鑊之罪，請自屏於胡貉之地，惟君死生之。”宋蘇軾《答王莊叔》：“某罪廢遠屏，有玷知識，重蒙獎飾，衰朽增光。” |
| （三）ｂｉｎｇ４ | 《集韻》步定切，去徑並。廁所。《集韻‧徑韻》：“屏，偃廁。”《急就篇》第二十章：“屏廁清圂糞土壤。”顏師古注：“屏，僻晏之名也。” |
| （四）ｂｉｎｇ１ | 《廣 韻》府盈切（《集韻》卑盈切），平清幫。耕部。〔屏營〕也作“屏盈”。１．彷徨。《玉篇‧尸部》：“屏，屏營，猶彷徨也。”《廣韻‧清韻》：“屏，屏盈， 彷徨。”《國語‧吳語》：“屏營仿偟於山林之中。”晉石崇《王明君詞》：“飛鴻不我顧，佇立以屏營。”唐李白《獻從叔當塗宰陽冰》：“長嘆即歸路，臨川空 屏營。”２．惶懼貌。《廣雅‧釋訓》：“屏營，膑钫正伀也。”王念孫疏證：“屏營，膑钫正伀，皆驚惶失據之貌。”《集韻‧清韻》：“屏，屏營，膑钫正伀 也。”晉桓溫《上疏廢殷浩》：“臣所以忘寢屏營，啟處無地。”《西遊記》第五十一回：“老孫不勝戰慄屏營之至！” |
失據
失去倚恃。如：「進退失據」。文選˙宋玉˙神女賦：「徊腸傷氣，顛倒失據。」後漢書˙卷七十一˙皇甫嵩傳：「州郡失據，長吏多逃亡。」
4. 屏 部首 尸
注音一式
ㄆ｜ㄥˊ
當門的小牆。即照壁。爾雅˙釋宮：「屏謂之樹。」郭璞˙注：「小牆當門中。」淮南子˙時則：「授車以級，皆正設于屏外。」高誘˙注：「屏，樹垣也。」
泛指像牆的遮蔽物。詩經˙小雅˙桑扈：「君子樂胥，萬邦之屏。」唐˙白居易˙冷泉亭記：「山樹為蓋，巖石為屏。」
屏風。如：「素屏一張」。南朝宋˙劉義慶˙世說新語˙言語：「北窗作琉璃屏，實密似疏。」
字畫裱成的條幅，通常以四幅或八幅為一組。如：「畫屏」、「字屏」。老殘遊記˙第九回：「抬頭看見北牆上掛著四輻大屏，草書寫得龍飛鳳舞。」
Prime Minister Naoto Kan, seated, listens to Okinawa Governor Hirotaka Nakaima in Naha on Friday. (Pool)
保護、做為屏障。國語˙齊語：「君有此士也三萬人，以方行於天下，以誅無道，以屏周室，天下大國之君莫之能禦。」唐˙元稹˙贈鄭餘慶太保制：「而今而後，誰其屏余？」
隱瞞、蒙蔽。呂氏春秋˙慎行論˙慎行：「亡夫太子建，殺連尹奢，屏王之耳目。」
ㄅ｜ㄥˇ ｂ
ｎｇ（00540） 
ㄅ｜ㄥ ｂ
ｎｇ（00527）"後屏居鄉里十年，仰取俯拾，衣食有餘。"金石錄後序 (李清照)
老病屏居，未見除目，不能並州竹馬，奉迓輶軒
3. 迓 部首  部首外筆畫 4 總筆畫 8 | ||||||||
| 注音一式 ｜ㄚˋ | ||||||||
漢語拼音 ｙ | 注音二式 ｙ | |||||||
| ||||||||
| 1. 奉迓金蓮 | ||||
| 注音一式 ㄈㄥˋ ｜ㄚˋ ㄐ｜ㄣ ㄌ｜ㄢˊ | ||||
漢語拼音 ｆ ｎ ｙ ｊ ｎ ｌｉ ｎ | 注音二式 ｆ ｎｇ ｙ ｊ ｎ ｌｉ ｎ | |||
| ||||
| 2. 輶軒 | ||||
| 注音一式 ｜ㄡˊ ㄒㄩㄢ | ||||
漢語拼音 ｙ ｕ ｘｕ ｎ | 注音二式 ｙ ｕ ｓｈｉｕ ｎ | |||
| ||||
除目
除授官吏的文書。唐姚合《武功縣中作》詩之八：“一日看除目，終年損道心。”《新五代史·唐臣傳·劉延朗》：“乃令文遇手書除目，夜半下學士院草製。”《資治通鑑·後晉高祖天福元年》：“先是術者言國家今年應得賢佐，出奇謀，定天下，帝意文遇當之，聞其言，大喜，曰：'卿言殊豁吾意，成敗吾決行之。'即為除目。付學士院使草製。” 胡三省注：“御筆親除付外行者謂之除目。其經宰相奏擬而行者，亦謂之除目。” 清吳偉業《送湘陰沉旭輪謫判深州》詩之二：“故舊憐除目，妻孥笑俸錢。”
屏居
隱居。史記˙卷一○七˙魏其武安侯傳：「魏其謝病，屏居藍田南山之下數月，諸賓客辯士說之，莫能來。」
| 3. 竹馬 | |||||
| 注音一式 ㄓㄨˊ ㄇㄚˇ | |||||
漢語拼音 ｚｈ ｍ | 注音二式 ｊ ｍ | ||||
| |||||
| 14. 胥 部首 肉 部首外筆畫 5 總筆畫 9 | ||||||||||||||||||||||||||
| 注音一式 ㄒㄩ | ||||||||||||||||||||||||||
漢語拼音 ｘ |
注音二式 ｓｈｉ |
|||||||||||||||||||||||||
| ||||||||||||||||||||||||||
屏風
室內用來擋風或隔間﹑遮蔽的用具。形狀像門，有單扇﹑多扇之分，可以折疊。一般用木頭﹑竹子﹑塑膠做框，蒙上布或鑲上玉石。古人的屏風，與今略有不同，主要在於它重量輕，便於移動，無扇的形式，作長方形，下面大多沒有腳，屏風上面裱有字畫。史記˙卷七十五˙孟嘗君傳：
孟嘗君侍客坐語，而屏風後常有侍史，主記君所與客語。
亦作屏門﹑屏障。
びょうぶ びやう― 0 【▼屏風】
木 の枠に紙・絹を張ったものを二枚（あるいは四枚、六枚）連ねて折り畳めるようにした室内用具。部屋を仕切ったり、防風・防寒用とともに、絵や書を書いて 装飾用ともする。中世以後、二つを一双として組み合わせ、関連する図柄を描いた。［季］冬。《ともしびを剪れば明るき―かな/富安風生》
――と商人(あきんど)は直(すぐ)にては立たぬ
屏風をまっすぐに置いては立たないように、商人は正直だけでは商売がやっていかれない。
びょうぶ 屏風
BIOMBO/屏風 日本の美 BIOMBO: Japan Heritage as Legend of Gold,
Folding as an artistic, political way of life
09/21/2007
BY C.B. LIDDELL, CONTRIBUTING WRITER
Most comparisons of Western and Japanese art tend to focus on the artistic image itself, as if all the clues lay within the shapes and colors laid down by the brush. This, however, ignores one of the major and most revealing differences between the two genres-- the actual thing on which the image is painted. How important this difference is can be realized by visiting the "Biombo: Japan Heritage as Legend of Gold" exhibition at the classy new Suntory Museum of Art in Tokyo. The exhibition takes a detailed look at the gorgeously decorated folding screens that have long been one of the mainstays of Japanese art.
The name of the exhibition is "Biombo"--the Portuguese rendition of the Japanese word byobu (byo means to block, bu is the character for wind). It attests to the art form's high profile overseas. These screens were one of the most prominent exports from Japan during its first encounters with the West from the mid-16th to early 17th centuries.
They also played a key role as Japanese diplomatic gifts, often during periods when the country was reluctant to enter into relationships with other countries. "Hunting at the Foot of Mount Fuji" (1856), a lively scene spread across six panels by Kano Tangen Moritsune, depicts a wild boar hunt set against a gilded background. This was one of the 10 pairs of screens sent to King William III of the Netherlands soon after they were painted in gratitude for the donation of a Dutch warship.
It may be considered revealing that the Japanese chose to send screens as gifts to foreign dignitaries and nations. In addition to being works of art that presented a positive image of local craftsmanship, these decorative screens also had a clear function--to shield and hide. Possibly, on some subconscious level, this may have been an expression of Japan's desire in the Edo Period (1603-1867) to remain shielded from the winds of change blowing in from abroad.
But, whether this was the case, folding screens also played an important role domestically. One of the exhibition's curators, Hiroshi Asaka of the Osaka Municipal Museum of Art, alludes in the exhibition catalog to the way screens were used both as symbols and as functional devices.
"The action of folding screens is to construct time and space, to give meaning to time and space," he writes.
For this reason, folding screens played an important part in the rituals of the Imperial Court. A series of paintings by Moriyasu Higuchi and Zuiko Kitaoji from the album "Kuji Roku Fuzu (Scenes of Ceremonies in the Imperial Court)" (Meiji Era, 1868-1912) show how a folding screen was used to heighten the mystique and power of the emperor during the four-direction obeisance rituals conducted on the first morning of the New Year to invoke divine protection for the nation.
The importance of screens to the Japanese was also recognized by the Jesuits, who tried to convert Japan to Catholicism in the late 16th and early 17th centuries. Part of this effort involved training young Japanese converts to Christianity to paint screens in a Western style, now referred to as yofuga. According to Yoshiya Ishida, the chief curator of the Suntory Museum of Art, these screens, featuring Western motifs and painted in a Western style, were given as gifts to powerful, pro-Christian daimyo (feudal lords) in western Japan.
Just as Japanese diplomatic missions used screens to send a message to foreigners, so those created under the auspices of the Jesuits had a particular meaning. "The Battle of Lepanto, World Map" (early 17th century) is an impressive and powerful example. One of the six-paneled screens shows the combined Christian triumph over the Ottoman Turks at the Battle of Lepanto in 1571. Another reveals a vast and reasonably accurate world map in which Japan is a minor detail.
The effect of this was to perhaps send the message that Japan was not big enough to count on its own and should throw in its lot with the powerful empires of Catholic Europe. As is well known, Japan's response to this battle of hearts and minds was to erect the diplomatic equivalent of a giant folding screen around the country for more than 200 years.
As with emaki picture scrolls, these multipaneled folding screens create a decentralized artistic space that contrasts sharply with the centered perspective and strong compositional framework characteristic of traditional Western art. This gives the viewer more to do and makes interaction with the works more personal.
* * *
"Biombo--Japan Heritage as Legend of Gold" runs through Oct. 21 at Tokyo's Suntory Museum of Art.
The exhibition travels to the Osaka Municipal Museum of Art (Oct. 30-Dec. 16).
Many of the works are on view for a limited period during the exhibition.(IHT/Asahi: September 21,2007)
纈ㄒ｜ㄝˊ
Most comparisons of Western and Japanese art tend to focus on the artistic image itself, as if all the clues lay within the shapes and colors laid down by the brush. This, however, ignores one of the major and most revealing differences between the two genres-- the actual thing on which the image is painted. How important this difference is can be realized by visiting the "Biombo: Japan Heritage as Legend of Gold" exhibition at the classy new Suntory Museum of Art in Tokyo. The exhibition takes a detailed look at the gorgeously decorated folding screens that have long been one of the mainstays of Japanese art.
The name of the exhibition is "Biombo"--the Portuguese rendition of the Japanese word byobu (byo means to block, bu is the character for wind). It attests to the art form's high profile overseas. These screens were one of the most prominent exports from Japan during its first encounters with the West from the mid-16th to early 17th centuries.
They also played a key role as Japanese diplomatic gifts, often during periods when the country was reluctant to enter into relationships with other countries. "Hunting at the Foot of Mount Fuji" (1856), a lively scene spread across six panels by Kano Tangen Moritsune, depicts a wild boar hunt set against a gilded background. This was one of the 10 pairs of screens sent to King William III of the Netherlands soon after they were painted in gratitude for the donation of a Dutch warship.
It may be considered revealing that the Japanese chose to send screens as gifts to foreign dignitaries and nations. In addition to being works of art that presented a positive image of local craftsmanship, these decorative screens also had a clear function--to shield and hide. Possibly, on some subconscious level, this may have been an expression of Japan's desire in the Edo Period (1603-1867) to remain shielded from the winds of change blowing in from abroad.
But, whether this was the case, folding screens also played an important role domestically. One of the exhibition's curators, Hiroshi Asaka of the Osaka Municipal Museum of Art, alludes in the exhibition catalog to the way screens were used both as symbols and as functional devices.
"The action of folding screens is to construct time and space, to give meaning to time and space," he writes.
For this reason, folding screens played an important part in the rituals of the Imperial Court. A series of paintings by Moriyasu Higuchi and Zuiko Kitaoji from the album "Kuji Roku Fuzu (Scenes of Ceremonies in the Imperial Court)" (Meiji Era, 1868-1912) show how a folding screen was used to heighten the mystique and power of the emperor during the four-direction obeisance rituals conducted on the first morning of the New Year to invoke divine protection for the nation.
The importance of screens to the Japanese was also recognized by the Jesuits, who tried to convert Japan to Catholicism in the late 16th and early 17th centuries. Part of this effort involved training young Japanese converts to Christianity to paint screens in a Western style, now referred to as yofuga. According to Yoshiya Ishida, the chief curator of the Suntory Museum of Art, these screens, featuring Western motifs and painted in a Western style, were given as gifts to powerful, pro-Christian daimyo (feudal lords) in western Japan.
Just as Japanese diplomatic missions used screens to send a message to foreigners, so those created under the auspices of the Jesuits had a particular meaning. "The Battle of Lepanto, World Map" (early 17th century) is an impressive and powerful example. One of the six-paneled screens shows the combined Christian triumph over the Ottoman Turks at the Battle of Lepanto in 1571. Another reveals a vast and reasonably accurate world map in which Japan is a minor detail.
The effect of this was to perhaps send the message that Japan was not big enough to count on its own and should throw in its lot with the powerful empires of Catholic Europe. As is well known, Japan's response to this battle of hearts and minds was to erect the diplomatic equivalent of a giant folding screen around the country for more than 200 years.
As with emaki picture scrolls, these multipaneled folding screens create a decentralized artistic space that contrasts sharply with the centered perspective and strong compositional framework characteristic of traditional Western art. This gives the viewer more to do and makes interaction with the works more personal.
* * *
"Biombo--Japan Heritage as Legend of Gold" runs through Oct. 21 at Tokyo's Suntory Museum of Art.
The exhibition travels to the Osaka Municipal Museum of Art (Oct. 30-Dec. 16).
Many of the works are on view for a limited period during the exhibition.(IHT/Asahi: September 21,2007)
纈ㄒ｜ㄝˊ
| ||
| 有花紋的絲織品。唐˙薛濤˙海棠溪詩：「人世不思靈卉異，競將紅纈染輕紗。」 | |
| 眼花時所見的星點。宋˙蘇舜欽˙奉酬公素學士見招之作詩：「神迷耳熱眼生纈，嚼盡寶壓狂醒消。」 龜甲屏風醉眼纈 日本 佳什者 龍田川水自成纈
|
】 
沒有留言:
張貼留言